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CHAN 3066 CHANDOS O PERA IN ENGLISH

JJANEANE EAGLENEAGLEN David Parry sings Tosca

PETE
MOO
ES FOUNDATION CHAN 3066 BOOK.qxd 16/7/07 10:30 am Page 2 AKG Jane Eaglen sings Tosca

Giacomo Puccini

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Giacomo Puccini (1858–1924) Tosca

An opera in three acts Libretto by Giuseppe Giacosa and Luigi Illica after the play La Tosca by Victorien Sardou English version by Edmund Tracey

Floria Tosca, celebrated opera singer ...... Jane Eaglen soprano Mario Cavaradossi, painter ...... Dennis O’Neill tenor Baron Scarpia, Chief of Police...... Gregory Yurisich baritone Sacristan ...... Andrew Shore baritone Spoletta, police agent ...... John Daszak tenor Sciarrone, Baron Scarpia’s orderly ...... Christopher Booth-Jones baritone Jailor ...... Ashley Holland baritone

Geoffrey Mitchell Choir Geoffrey Mitchell chorus master Peter Kay Children’s Choir Philharmonia Orchestra Brad Cohen assistant conductor David Parry

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Time Page Time Page

from Act I 8 ‘Floria!’ 4:27 077 1 ‘Mario! Mario! Mario!’ 3:04 064 Cavaradossi, Tosca, Scarpia, Sciarrone Tosca, Cavaradossi 9 ‘How much?’ 4:40 080 2 ‘Our little house in the country’ 4:27 065 Tosca, Scarpia Tosca, Cavaradossi 10 ‘Life has taught me singing and loving’ 7:15 082 3 ‘What eyes in all the wide world’ 5:42 066 Tosca, Scarpia, Spoletta Cavaradossi, Tosca 11 ‘Which route have you chosen?’ 6:52 084 ***** Scarpia, Tosca 4 ‘(Ah, that explains it)’ 7:45 068 Scarpia, Tosca, Sacristan from Act III 12 ‘Ah! Safe-conduct for Floria Tosca…’ 2:49 85 from Act II Cavaradossi, Tosca 13 ‘Oh, hands of mercy’ 8:34 86 5 ‘It seemed wise to arrest him…’ 4:22 070 Spoletta, Scarpia, Choir, Cavaradossi, Tosca Cavaradossi, Tosca, Jailor 14 ‘What a time they are taking!’ 4:01 88 6 ‘Now you and I can talk’ 5:14 073 Scarpia, Tosca, Sciarrone, Cavaradossi Tosca, Spoletta, Sciarrone, Soldiers TT 73:37 000 7 ‘Enough. Tosca, your answer’ 3:48 075 Scarpia, Tosca, Cavaradossi, Spoletta, Sciarrone

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Introduction

Jane Eaglen of Music, where from 1982 she studied on a by performances of grandiose roles such as hard to name a more complete Norma among A hundred years or more ago, the operatic Peter Moores scholarship with Joseph Ward. Fiordiligi (1990) and Norma (1993) (for the contemporary sopranos. She sings at Covent world’s liveliest celebrations came with the The tape struck me more as a pledge of future Scottish Opera production supported by the Garden, La Scala, Vienna and the arrival of a new coloratura star, but over much glory than merely promising, and I Peter Moores Foundation), Ariadne, Tosca and Metropolitan, New York, and versatility of the last hundred years the cry has been for a immediately followed it with first-hand Fata Morgana (The Love for Three Oranges) for continues to be her watchword, with new heldentenor or – even more – for a experience of a mind-boggling Aida on the Isle English National Opera, and an electrifying performances of Donna Anna and Turandot Wagnerian dramatic soprano. Without their of Man which confirmed first impressions: Sieglinde in a strongly cast Act III of alternating with the Wagner in which she appearance, The Ring or Tristan are not so mind-boggling because the opera was Die Walküre at a London Prom. The reigns supreme, and with recordings attesting much unthinkable as barely performable. accompanied only by piano, and of six Royal Wagnerian splendour of the voice was plain to to each step up the Everest slope. Such a phenomenon is Jane Eaglen, among a Northern College of Music graduates five recognise; her first Walküre Brünnhilde came number of other things, a Brünnhilde and made careers. Jane Eaglen was one of them in 1994 for Scottish Opera, the first complete Isolde of dominating calibre. and an audition at the Coliseum brought Ring in 1996 in Chicago, and this was Singers of heroic roles don’t burst on a immediate engagement with English National followed by Isolde in Seattle in 1998. waiting world fully formed. Even Kirsten Opera, albeit with most of the 1983/84 season Jane Eaglen’s voice has maintained much of Flagstad, with Mimì and the Merry Widow, already cast and therefore little immediate the flexibility of early years, and it would be © 2001 Lord Harewood exercised on the lower slopes of Everest, and prospect of the major roles her voice seemed Jane Eaglen is no exception, ringing up a insistently to call for. Better acquaintance with healthy total of parts like Berta (The Barber of Jane revealed easy mastery of arias such as Seville), the Priestess (Aida) and Lady Ella ‘Bel raggio’ and ‘Casta diva’, and an astute (Patience) before she graduated to Dvorvák’s American heard her and engaged her for a Foreign Princess, Tosca and Norma, by which New York recital on English National Opera’s time the future seemed ready to unroll before 1984 American tour. With the Wesendonck- her. lieder alongside Italian showpieces, it was a I myself was lucky in my earliest encounters considerable success. with Jane. First came a tape of the Liebestod Opportunities were not slow in coming her from a concert at the Royal Northern College way, and her path up Everest was illuminated

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Puccini of this development. In the meantime, composers in the subject. It is only at this Giacomo Puccini: Tosca Puccini had composed Manon Lescaut even point that Alberto Franchetti (1860–1942) though Massenet’s popular setting of that enters the picture. It was in 1889 that the thirty-five-year-old fat profits for Casa Ricordi and generous subject was not a decade old. In his efforts to A number of writers who have participated Giacomo Puccini saw Sarah Bernhardt in royalties for the composer. Fired with the further Puccini’s career, Giulio Ricordi even in the once-popular game of Puccini-bashing Victorien Sardou’s vintage 1887 melodrama, conviction that Sardou’s La Tosca was most got possession of the Italian rights to have maintained that Puccini’s interest in the La Tosca, twice, and recognised it as a subject promising material for an opera, in the autumn Massenet’s Manon with the intention of Tosca subject was aroused only when he heard he much wanted to convert into an opera. of 1890 Puccini persuaded Ricordi to discover preventing its performance in Italy until Franchetti was working on it, and that Puccini The play, designed as a vehicle for Bernhardt, from Sardou’s agent in Paris on what terms Puccini’s Manon Lescaut could establish itself and Ricordi deceived Franchetti about its offered the actress ample opportunities for Sardou would sell the rights for adapting his in the repertoire. Brought out at Turin’s Teatro suitability, thereby leaving the ground free for high-powered histrionics. With a pseudo- play as an opera. In January 1891, when an Regio in February 1893, Manon Lescaut Puccini to use it. That this impression is false historical setting the plot allowed her to play agreement about the rights seemed secure, proved an inspiriting success. has been conclusively demonstrated by the part of an opera singer: temperamental, Ricordi, at Puccini’s suggestion, set the On 29 July 1893 Ricordi wrote to Sardou’s Deborah Burton, who has thoroughly jealous, amorous, imperilled, murderous, grief- librettist Luigi Illica the task of converting agent that Puccini, still in the dark about researched the Ricordi archives for materials stricken, and, in a final theatrical gesture, Sardou’s five-act melodrama into a three-act Sardou’s opinion, was offended by the long pertaining to the composition of Tosca. In July suicidal, as she leaps to her death from the opera text. On 13 December 1891 an silence and had completely withdrawn from 1894 Illica’s libretto was turned over to the ramparts of the Castel Sant’Angelo. announcement that Puccini would compose the project. But by October 1893, Sardou, who wealthy Franchetti, who purchased the rights Seeing the drama acted in French, a Tosca appeared in Ricordi’s house organ, the had obviously heard good reports about the from Sardou for 25,000 lire. language he scarcely knew, Puccini grasped Gazzetta Musicale. launching of Manon Lescaut, informed Ricordi Franchetti had made something of a splash La Tosca’s potential as a subject well adapted to These prospects suddenly evaporated in that, after all, Puccini should be the man to in 1892, when on Verdi’s recommendation he the lyric stage, as operas do not communicate December 1892 when Sardou, who had a compose Tosca. Buoyed by the enthusiasm with had won a commission from Genoa’s Teatro by words alone. At this point Puccini had thoroughly practical side to his nature, having which his Manon Lescaut had been received, Carlo Felice to write an opera about Columbus composed two operas, Le Villi and Edgar, heard some of Puccini’s music, decided it was Puccini interpreted Sardou’s sudden shift of to celebrate the four-hundredth anniversary of neither of which had been unconditionally not as promising as Ricordi had tried to opinion as a crass gesture and a personal insult. that navigator’s sailing the ocean blue and successful. Yet both had shown sufficient persuade him it was; but most likely, the Puccini’s change of heart left Ricordi with discovering what proved to be the Western promise for the Milanese music publisher playwright, who had demanded a share in the Illica’s libretto of Tosca on his hands. (By the hemisphere. Giulio Ricordi to continue to pay Puccini a receipts of the operatic Tosca, was disappointed way, the opera’s title omits the play’s definite Franchetti’s success with his Cristoforo modest retainer in the hope that he would at the negligible earning power demonstrated article ‘La’.) And now the canny publisher set Colombo demonstrated that his talents were produce a genuine success, one that would earn by Le Villi and Edgar. Ricordi did not inform about trying to interest another of his stable of more advantageously displayed in a pageant-

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like spectacle than in the dramatic interaction and Ricordi were there, they paid a ceremonial none of them lasting more than about three They recur in altered form when Tosca’s lover, of characters. It was Franchetti himself who visit to the sixty-seven-year-old Sardou, and it minutes, as they are designed not to disrupt the painter Cavaradossi, tells the fugitive decided that Tosca was not a subject suited to was on this occasion that Puccini’s enthusiasm the momentum. Besides these solos, the Angelotti where to hide from Scarpia. And his particular abilities, and in March 1895 he for Tosca was definitely rekindled. Illica, in soprano and the tenor participate in two later in Act I, when Scarpia himself enters the was arguing with Illica about modifying the conjunction with Giacosa, reworked the libretto effective love duets: one in the first act and church having trailed Angelotti there, these libretto. Two months later he had definitely to suit the composer’s exigent sense of theatre. the other in the last, shortly before the ominous chords serve as his calling card. After relinquished the project because, as he later Puccini even contributed to the libretto himself, not-so-mock execution. he has exposed his hypocritical, lecherous explained it, ‘I did not feel the music in it’. supplying the words for one of the most The character of the sadistic Baron Scarpia nature during the Te Deum, the act ends with Meanwhile, Puccini was composing popular moments in the score, the tenor’s has his solo moments as well, but granting his the ‘Scarpia’ chords blaring menacingly. At the La bohème (Turin, 1896) to a libretto by Illica Act III aria, ‘All the stars shone in heaven’ evil nature the moments of this baritone’s end of Act II, when Tosca places the candles and Giuseppe Giacosa, a work which would (E lucevan le stelle). prominence are rarely encountered outside the about Scarpia’s corpse, the chords are heard prove even more successful than Manon Lescaut. At its premiere, which took place at the context of performance in the opera. The first again, now, however, reharmonised and played By July 1895 Ricordi had set about persuading Teatro Costanzi in Rome on 14 January 1900, of these is the Te Deum at the conclusion to as ‘softly as possible’, according to the direction Puccini that Illica’s libretto for Tosca, back on Tosca proved a great success. Six months later it Act I, where, over a relentlessly repeated in the score. his hands now that Franchetti had definitely was introduced to London, and the following sequence in the bass, he describes his desire to Another theme that recurs with poignant decided against setting it, was an ideal prospect year to New York. Since then it has proved one possess Tosca, whilst the congregation assembles effect is first heard in the E major section of the for a successor to Bohème. Some time would of the hardiest of Puccini’s works, and every to participate in singing a victory hymn. In Act I love duet for Tosca and Mario pass before Puccini began to work on it. soprano with a flair for the dramatic is drawn Act II, before Mario is brought in for Cavaradossi, beginning at the words ‘Why so One of Giulio Ricordi’s most useful, and to it like filings to a magnet. interrogation, Scarpia tersely expounds his jealous?’ (Mia gelosa!). According to a note in incidentally profitable, ideas was to send a Three arias, two for the tenor, and the brutally hedonistic approach to life and its Tosca’s autograph, substantiated by the fact that composer to supervise the introduction of his soprano’s Act II ‘Life has taught me singing pleasures. And later on in the same act his reply it is written on a separate fascicle of music works on their first productions in important and loving’ (Vissi d’arte, vissi d’amore), are the to Tosca’s question how much it would take to paper, this rapturous melody apparently is the theatres so that an authentic tradition might be most familiar parts of the score. They are save Mario’s life is a brief outpouring of his first music Puccini composed for the work. The established. And so during the next two years among the most frequently recorded pieces of predatory instinct, set to a surging vocal line. melody returns, now imposingly developed, as much of Puccini’s time was spent supervising operatic music in the world, and they are often And speaking of Scarpia, the most an accompaniment to Tosca’s second exit in the launching of La bohème in various centres. encountered as popular encores on concert prominent recurring theme of the score is Act I – after her upsetting colloquy with In June 1898 he was in Paris at the time when programmes. They share certain qualities: associated with his character. This theme is the Scarpia. A hint of it is heard in the prelude to La bohème, translated into French, received its Puccini’s lush lyricism and emotional first music one hears, a loud succession of Act III, and a few minutes later, directly local premiere at the Opéra-Comique. While he expressiveness. Besides, they are relatively short, chords just before the curtain rises on Act I. following ‘All the stars shone in heaven’, this

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theme serves as the basis for the impetuous In a plot so filled with intense and clearly Synopsis When she has left, Cavaradossi and Angelotti music accompanying Tosca’s entrance. motivated action, there is scant time for lyric plan the latter’s escape; when it becomes dark Puccini also uses music for descriptive expansiveness. One of Puccini’s most Act I he must hurry to Cavaradossi’s villa in disguise purposes. He does this most tellingly in the treasurable gifts as an opera composer is his Interior of the church of Sant’Andrea della Valle and hide in a well in the garden. A canon shot prelude to Act III. Not only do we hear an keen sense of the so-called ‘theatrical clock’. Angelotti hurries into the church and slips into is heard from the castle signalling that offstage shepherd boy singing a ditty in the He understood the optimum duration for the private Chapel of the Attavanti family. His Angelotti’s escape has been discovered. At the local dialect, but we hear in various perspectives every kind of episode. For instance, the sister, who is married to the Marchese same time the Sacristan enters with the (false) the ringing of church bells from near and far as suddenness with which we are pitchforked into Attavanti, has hidden the Chapel key for him news of Napoleon’s defeat at Marengo. The the day dawns over the Castel Sant’Angelo. And the action at the beginning of Act I is in stark whilst visiting the church to pray. The church fills with a joyous throng and Scarpia in Act II Puccini supplies music, not only as the contrast to the leisurely bell-filled prelude to Sacristan enters and washes some paintbrushes enters accompanied by Spoletta, commanding basis for operatic discourse and atmosphere, but Act III, where this slowly-paced beginning belonging to Cavaradossi who is finishing a the Sacristan to prepare for a Te Deum in also as sounds that characters on stage hear as creates suspense that will be resolved only by painting of the Magdalene. The painter has honour of the victory. He orders his men to music from offstage, as in the case of the the sudden violence of the final few minutes. blended the charms of his beloved Tosca with look for clues as to Angelotti’s whereabouts and shepherd’s song. Near the beginning of Act II, Tosca is an opera that has had its share of the beauty of an unknown woman he has seen these are duly found: a key, a basket empty of a little orchestra in the wings is heard playing a detractors, people who are turned off by the at prayer in the church. When the Sacristan provisions which Cavaradossi had left, and a gavotte. And not long thereafter, apparently melodrama of the plot. It is a mistake, leaves, Angelotti emerges and is recognised by fan belonging to Angelotti’s sister, the Marchesa from the Queen’s apartments in the Palazzo however, to confuse the opera with its story. Cavaradossi who locks the church door. Attavanti. Farnese, Tosca and a chorus are heard singing All operas are amalgams in which music and Angelotti explains that he has just escaped 4 When Tosca returns Scarpia uses the fan to a cantata to celebrate a victory which, ironically plot have become inseparably fused. Puccini’s from the Castel Sant’Angelo, where he had arouse her jealousy and she hurries to the villa enough, later turns out to have been a defeat of finely paced score converts Sardou’s shoddy been imprisoned on the orders of Scarpia. hoping to surprise the guilty pair. the royalist forces. characters into memorably expressive ones, 1 They are interrupted by the sound of Tosca’s Scarpia gives orders for her to be followed Other examples of atmospheric music occur fully human in their strengths and weaknesses. voice outside the church and Angelotti returns and he looks forward to catching the fugitive in Act I, set in the Roman church of One might not expect nowadays ever to to the Chapel. Cavaradossi lets Tosca in. and enjoying Tosca’s favours. Sant’Andrea della Valle. Just before Mario’s encounter Sardou’s La Tosca on the spoken 2 She is disturbed by the fact that the arrival, the Sacristan kneels and recites the stage, but Puccini’s opera is a fixture in the painting of the Magdalene resembles the Act II Angelus, in a tempo marked Andante religioso. active repertory and shows every sign of Marchesa Attavanti. Cavaradossi explains that Scarpia’s apartment in the Palazzo Farnese At the end of that act, as the church fills with remaining one for a good while to come. he has seen her in the Chapel praying, but that Scarpia is dining alone whilst Queen Caroline worshippers, a Te Deum is sung, as bells are he did not know who she was. entertains below. Spoletta enters with news that rung and a cannon booms in celebration. © 1996 William Ashbrook 3 He and Tosca sing a love duet. the search of Cavaradossi’s villa proved fruitless.

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5 However, they have arrested him and Act III fine reviews. Previous portrayals of Brünnhilde of Birmingham Symphony Orchestra; Mahler’s brought him to the palace. During Tosca’s A platform in the Castel Sant’Angelo include those for Opera Pacific and Scottish Eighth Symphony with Klaus Tennstedt; Act singing of a cantata in the Queen’s honour, A shepherd boy is heard singing as he drives his Opera. Similarly her performances as Norma III of Götterdämmerung with Bernard Haitink Scarpia interrogates Cavaradossi in the presence flock. Cavaradossi asks for a pen and paper so at the Ravenna Festival with Muti, for Seattle and the Boston Symphony Orchestra; Nabucco of the executioner and a judge. Cavaradossi that he can write a letter of farewell to Tosca. Opera, Los Angeles Opera, at the Bastille, in Ravenna with Riccardo Muti; Gurrelieder denies all knowledge of Angelotti, and Scarpia Spoletta appears with Tosca and then leaves. Paris, and Scottish Opera won unanimous with Claudio Abbado at the Salzburg and gives orders for him to be tortured in an 12 Tosca shows Cavaradossi the letter of safe- critical acclaim. Edinburgh Festivals; Norma in concert at the adjoining room. conduct and he is delighted and relieved. Other memorable operatic performances Tivoli Festival in Copenhagen and at Carnegie 6 – 7 When questioned, Tosca also refuses to 13 Tosca is anxious that her lover should play include Isolde in Seattle, recently repeated at Hall; and Strauss’s Four Last Songs with reveal Angelotti’s whereabouts until, hearing his part well when it comes to the execution. The Metropolitan Opera and the Lyric Opera Daniel Barenboim and the Chicago her lover’s groans, she mentions the well in the 14 Indeed he does, for the rifles are loaded and of Chicago to formidable reviews; her role Symphony Orchestra. garden. he is killed. News of Scarpia’s murder has debut as La Gioconda for the Lyric Opera of Jane Eaglen’s recordings include a disc of 8 The torture stops and Sciarrone enters with broken and the agents are after Tosca. She Chicago; Donna Anna (Don Giovanni) at The arias by Wagner and Bellini, another with arias news that Napoleon has won the battle of climbs to the battlements and leaps to her Metropolitan Opera – previously performed by Strauss and Mozart, Mahler’s Eighth Marengo. Cavaradossi breaks out in a paean to death. for Vienna State Opera and in Los Angeles, Symphony, Beethoven’s Ninth Symphony, liberty, for which Scarpia puts him under arrest Munich and Bologna; the title role in Bruckner’s Mass, Norma, Medea in Corinto for again, and he is taken away to be shot at dawn. Jane Eaglen has one of the most formidable Turandot at The Royal Opera, the Opera Rara, and, for Chandos/Peter Moores 9 – 10 Scarpia then promises to have the reputations in the opera world today. Born in Metropolitan Opera with Pavarotti, in Vienna, Foundation, the award-winning Tosca, with painter set free on condition that Tosca gives Lincoln, she studied at the Royal Northern Madrid, Seattle, Bologna and at the Bastille, further recordings of Turandot and Aida. She in to his advances. College of Music and went on to sing at Paris; Amelia (Un ballo in maschera) in also features on the soundtrack of the film 10 Spoletta returns with news that Angelotti English National Opera. Enjoying unique Bologna and at the Bastille; the title role in adaptation of Jane Austen’s Sense and killed himself when they discovered him, and success in the contrasting roles of Norma and Tosca for English National Opera, the Teatro Sensibility Tosca agrees to give herself to Scarpia. He tells Brünnhilde, hers is a dramatic soprano of Colon in Buenos Aires, and in concert with Spoletta to set up a mock-execution as ‘in the outstanding achievement earning spectacular the Cleveland Symphony Orchestra; and the David Parry studied with Sergiu Celibidache case of Palmieri’. reviews worldwide. Her recent performances as title role in Ariadne auf Naxos for English and began his career as Sir John Pritchard’s 10 – 11 Tosca insists that he write a note Brünnhilde (Siegfried) for the Lyric Opera of National Opera. assistant. He made his debut with English guaranteeing a safe conduct for herself and Chicago and her subsequent complete Ring Equally at home on the concert platform Music Theatre, then became a staff conductor Cavaradossi. While he is doing this she sees a there, with Riccardo Muti at La Scala, Milan, her recent engagements include Verdi’s at Städtische Bühnen Dortmund and at Opera knife and stabs him. in San Francisco and in Vienna gained equally Requiem with Sir Simon Rattle and the City North. He was Music Director of Opera 80

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from 1983 to 1987 and since 1992 has been conducted include Fidelio at the New the founding Music Director of Almeida Zealand Festival, Maria Stuarda at Theater

Opera. Basel and Lucia di Lammermoor at New Israeli Cooper Bill He works extensively in both opera and Opera. concert, nationally and internationally. He has His work in the recording studio includes conducted several productions at English the BBC Television production of Marschner’s National Opera and appears regularly with the Der Vampyr and twenty-one complete opera Philharmonia Orchestra. In 1996 he made his recordings under the sponsorship of the Peter debut at the Glyndebourne Festival with Moores Foundation. Among these are Così fan tutte, where in 1998 he conducted the numerous discs for the Opera Rara label world premiere of Jonathan Dove’s Flight. which have won several awards, including the He is a frequent visitor to Spain where he Belgian Prix Cecilia for Donizetti’s Rosmonda has given concerts with most of the major d’Inghilterra. For Chandos he has conducted Spanish orchestras. He conducted the Spanish seven recordings of operatic arias (with Bruce premiere of Peter Grimes in Madrid and in Ford, Diana Montague, Dennis O’Neill, 1996 the first Spanish production of The Alastair Miles, Yvonne Kenny, John Tomlinson Rake’s Progress. He has appeared in Germany, and Della Jones), as well as Faust, Don Sweden, The Netherlands, at the Pesaro Pasquale, The Elixir of Love, La bohème, Festival in Italy, the Hong Kong International Cavalleria rusticana, Pagliacci, Il trovatore the Festival, in Japan with a tour of Carmen and award-winning Tosca and highlights from in Mexico with the UNAM Symphony Der Rosenkavalier, all in association with the Orchestra. Recent new productions he has Peter Moores Foundation.

Jane Eaglen in the title role of The Royal Opera’s 2001 production of Puccini’s Turandot

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PETER MOORES, CBE, DL giving financial support to various young artists, several of whom – Joan Sutherland, Colin Davis and the late Geraint Evans amongst them – were to become world-famous. In 1964 he Peter Moores was born in Lancashire, the son of Sir John Moores, founder of the giant set aside a substantial part of his inheritance to establish the Peter Moores Foundation, a charity Littlewoods mail order, chain store and football pools group. He was educated at Eton and designed to support those causes dear to his heart: to make music and the arts more accessible Christ Church, Oxford, where he read modern languages – he was already fluent in German to more people; to give encouragement to the young and to improve race relations. and Italian. It was opera, however, which was his great love. He had worked at Glyndebourne Festival Opera before going up to university, and after Oxford he became a production PETER MOORES FOUNDATION student at the Vienna State Opera, combining this with a three-year course at the Vienna In the field of music, the main areas supported by the Peter Moores Foundation are: Academy of Music and Dramatic Art. the recording of operas from the core repertory sung in English translation; the recording By the end of his third year at the Academy Moores had produced the Vienna premiere of or staging of rare Italian opera from the bel canto era of the early nineteenth century Britten’s The Rape of Lucretia, had worked as Assistant Producer at the San Carlo Opera (repertoire which would otherwise only be accessible to scholars); the nurturing of House, Naples, the Geneva Festival and Rome Opera, and seemed set for a successful operatic promising young opera singers; new operatic work. career. At this point he received a letter from his father asking The Foundation awards scholarships annually to students and post-graduates for furthering him to come home as he was needed in the firm. Family loyalty their vocal studies at the Royal Northern College of Music. In addition, project awards may be being paramount, he returned to Liverpool. given to facilitate language tuition in the appropriate country, attendance at masterclasses or From 1981 to 1983 he was a Governor of the BBC, and a summer courses, specialised repertoire study with an acknowledged expert in the field, or Trustee of the Tate Gallery from 1978 until 1985; from 1988 post-graduate performance training. to 1992 he was a director of Scottish Opera. He received the The Foundation encourages new operatic work by contributing to recordings, the Christina Burton/PMF Gold Medal of the Italian Republic in 1974, an Honorary MA publication of scores and stage productions. from Christ Church, Oxford, in 1975, and was made an Since 1964 the Foundation has supported the recording of more than forty operas, many of Honorary Member of the Royal Northern College of Music in these sung in English, in translation. It has always been Peter Moores’s belief that to enjoy opera 1985. In May 1992 he became Deputy Lieutenant of to the full, there must be no language barrier, particularly for newcomers and particularly in the Lancashire, and in the New Year’s Honours List for 1991, he popular repertoire – hence the Opera in English series launched with Chandos in 1995. This was made a CBE for his charitable services to the Arts. includes many of the English language recordings funded by the Foundation in the 1970s and Whilst still in his early twenties, Peter Moores had started Peter Moores, CBE, DL 1980s, and is now the largest recorded collection of operas sung in English.

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Jane Eaglen in the Jane Eaglen as Mathilde with title role of English Chris Merritt as Arnold in National Opera’s The Royal Opera’s 1992 production 1990/91 production of Rossini’s Guillaume Tell of Puccini’s Tosca

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Introduktion

Jane Eaglen Bandaufnahme des Liebestods aus einem der English National Opera 1984 für ein Jane Eaglen hat sich in ihrer Stimme viel Bis vor einhundert Jahren geriet die Konzert des Royal Northern College of Music, Recital in New York. Mit den Wesendonk- von der Flexibilität der Anfangsjahre bewahrt; Opernwelt gewöhnlich mit dem Aufstieg einer wo sie 1982 mit einem Peter-Moores- Liedern und italienischen Glanzarien feierte sie man würde sich schwer tun, unter den neuen Koloratursängerin in Stipendium bei Joseph Ward studierte. Für großen Erfolg. Sopranistinnen unserer Zeit eine andere so Begeisterungstaumel, doch seitdem hat man mich war dieser Mitschnitt mehr als ein Die Angebote überhäuften sich, und die vollendete Norma zu finden. Sie singt in sich eher nach einem Heldentenor oder – Versprechen – es war geradezu eine Garantie nächsten strahlenden Stationen bei ihrem Covent Garden, an der Scala, in Wien und an mehr noch – nach einem dramatischen auf künftigen Ruhm, und ich sah mir sofort Gipfelsturm waren Fiordiligi (1990) und der Met in New York, und Vielseitigkeit bleibt Wagner-Sopran gesehnt. Ohne sie lässt sich eine überwältigende Aida auf der Isle of Man Norma (1993) an der Scottish Opera, ihre Parole – Auftritte als Donna Anna und Der Ring oder Tristan praktisch kaum an, die meine ersten Eindrücke bestätigte: Ariadne, Tosca und Fata Morgana (Die Liebe Turandot wechseln sich mit Wagner ab, in aufführen, ist vielleicht sogar undenkbar. Solch überwältigend, weil die Oper nur mit zu den drei Orangen) an der English National dessen Rollen sie unangefochten ist. Ihre ein Phänomen ist Jane Eaglen, die neben ihren Klavierbegleitung gegeben wurde und fünf der Opera sowie eine elektrisierende Sieglinde in Schallplattenaufnahmen dokumentieren jeden anderen Rollen als Brünnhilde und Isolde sechs Abgänger vom Royal Northern College einem stark besetzten Akt III der Walküre bei Schritt auf dem Weg zum Gipfel des Everest. überlebensgroß ist. of Music später große Karriere machten. Jane einem Londoner Prom-Konzert. Die Heldensängerinnen fallen nicht aus dem Eaglen gehörte dazu, und nach einer wagnersche Pracht der Stimme war Himmel. Selbst Kirsten Flagstad übte sich erst Gesangsprobe im Coliseum wurde sie sofort unüberhörbar; ihre erste Brünnhilde in der als Mimì und Lustige Witwe auf den unteren von der English National Opera unter Vertrag Walküre sang sie 1994 an der Scottish Opera, Hängen des Everest, und Jane Eaglen bildet genommen, obwohl die Saison 1983/84 den ersten kompletten Ring 1996 in Chicago, © 2001 Lord Harewood keine Ausnahme; auch sie bewältigte erst ein bereits weitgehend besetzt war und kaum die Isolde 1998 in Seattle. Übersetzung: Andreas Klatt gutes Soll an kleineren Rollen, wie Berta Aussicht darauf bestand, daß sie in einer der (Il barbiere di Siviglia), die Priesterin (Aida) für ihre Stimme wie geschaffenen großen und Lady Ella (Patience), bevor man sie als Rollen reüssieren würde. Die nähere Dvorvák’s Fremde Fürstin (Rusalka), Tosca und Bekanntschaft mit Jane enthüllte ihre Norma erlebte. Nun schien jedoch der ungezwungene Beherrschung von Arien wie Zukunft nichts mehr im Weg zu stehen. “Bel raggio” und “Casta diva”; ein Ich hatte das große Glück, Jane schon ganz aufgeweckter Amerikaner hörte sie und am Anfang zu begegnen. Zuerst kam eine engagierte sie im Rahmen der Amerikatournee

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war, wie Ricordi ihm weiszumachen versucht komponieren solle. Ermutigt durch die Giacomo Puccini: Tosca hatte. Tatsächlich war der Dramatiker, der eine Begeisterung, mit der seine Manon Lescaut Beteiligung an den Einnahmen aus der aufgenommen worden war, deutete Puccini Man schrieb das Jahr 1889, als der eine bescheidene regelmäßige Zuwendung Opernfassung von Tosca verlangt hatte, wohl Sardous jähen Meinungsumschwung als fünfunddreißigjährige Giacomo Puccini sich zahlte; er hoffte, daß Puccini einen echten enttäuscht über die geringe finanzielle Grobheit und persönliche Beleidigung. Er Sarah Bernhardts wegen zweimal das 1887 von Erfolg verbuchen würde, der dem Hause Ausbeute von Le Villi und Edgar. Ricordi setzte sich nun tatsächlich von dem Projekt ab, Victorien Sardou verfaßte köstliche Melodram Ricordi dicke Gewinne und dem Komponisten informierte Puccini nicht über diese und Ricordi blieb auf Illicas Tosca-Libretto La Tosca ansah und es als Stoff erkannte, den er großzügige Tantiemen einbringen würde. Von Entwicklung. Inzwischen hatte Puccini sitzen. (Nebenbei sei erwähnt, daß der Titel gern zur Oper verarbeiten wollte. Das ganz auf der Überzeugung getrieben, daß Sardous Manon Lescaut komponiert, obwohl Massenets der Oper auf den bestimmten Artikel “La” des Sarah Bernhardt abgestimmte Stück bot der La Tosca aussichtsreiches Material für eine populäre Vertonung derselben Vorlage nicht Schauspiels verzichtet.) Der schlaue Verleger Schauspielerin reichlich Gelegenheit für hohe Oper bot, überredete Puccini Ricordi im einmal zehn Jahre alt war. In seinem unternahm daraufhin den Versuch, einen Dramatik. Die pseudohistorische Handlung Herbst 1890, bei Sardous Agentur in Paris Bemühen, Puccinis Karriere zu fördern, ging anderen Komponisten aus seinem Stall für den ermöglichte es ihr, eine Opernsängerin zu nach den Bedingungen zu fragen, unter denen Giulio Ricordi soweit, sich die italienischen Stoff zu interessieren. Erst in dieser Phase spielen: launisch, eifersüchtig, liebebedürftig, Sardou die Rechte auf eine Opernbearbeitung Rechte an Massenets Manon zu sichern, so daß erschien Alberto Franchetti (1860–1942) auf gefährdet, mordlustig, tief betrübt und als seines Stücks abgeben würde. Im Januar 1891, er deren Aufführung in Italien verhindern der Bildfläche. abschließende theatralische Geste als eine Vereinbarung bezüglich der Rechte konnte, bis sich Puccinis Manon Lescaut im Eine Anzahl Autoren, die an dem früher so selbstmörderisch – da springt sie nämlich von gesichert erschien, stellte Ricordi auf Puccinis Repertoire etabliert hatte. Manon Lescaut, beliebten Spiel der Herabwürdigung Puccinis der Brustwehr der Engelsburg in den Tod. Anregung dem Librettisten Luigi Illica die uraufgeführt im Februar 1893 im Teatro Regio beteiligt waren, haben behauptet, daß Puccinis Puccini hatte das Schauspiel auf Französisch Aufgabe, Sardous fünfaktiges Melodrama in in Turin, erwies sich als ermutigender Erfolg. Interesse am Thema Tosca überhaupt erst gesehen, also in einer Sprache, die er kaum einen drei Akte langen Operntext Am 29. Juli 1893 schrieb Ricordi an geweckt worden sei, als er hörte, daß kannte; er hatte das Potential von La Tosca als umzuwandeln. Am 13. Dezember 1891 Sardous Agenten, daß Puccini, der über Franchetti daran arbeite. Puccini und Ricordi für die Opernbühne geeignetes Thema erfaßt, verkündete Ricordis Hauszeitung, die Gazzetta Sardous Ansichten immer noch nicht Bescheid hätten Franchetti bezüglich der Eignung des da sich Opern nicht allein über das Musicale, daß Puccini Tosca komponieren wußte, über das lange Schweigen empört sei Stoffs getäuscht, so daß Puccini freie Bahn gesprochene Wort vermitteln. Bis dahin hatte werde. und sich völlig aus dem Projekt zurückgezogen bekommen habe, ihn selbst zu bearbeiten. Puccini zwei Opern komponiert, Le Villi und Die günstigen Aussichten zerschlugen sich habe. Dessen ungeachtet teilte Sardou, der Daß diese Auffassung falsch ist, wurde Edgar, von denen keine uneingeschränkt im Dezember 1892; Sardou, der äußerst offensichtlich Gutes über die ersten schlüssig bewiesen von Deborah Burton, die erfolgreich gewesen war. Immerhin aber waren praktisch dachte, hatte eine Kostprobe von Aufführungen von Manon Lescaut gehört die Ricordi-Archive gründlich nach Material beide so vielversprechend, daß der Mailänder Puccinis Musik gehört und urplötzlich hatte, Ricordi im Oktober 1893 mit, daß er in abgesucht hat, das sich auf die Komposition Musikverleger Giulio Ricordi Puccini weiterhin entschieden, daß sie so vielversprechend nicht Puccini nun doch den Mann sehe, der Tosca von Tosca bezieht. Tatsächlich wurde Illicas

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Libretto im Juli 1894 an den wohlhabenden hatte, es zu vertonen, und war im Juli 1895 “Und es blitzten die Sterne” (E lucevan le wirkungsvollen Liebesduetten beteiligt: eines Franchetti übergeben, der für 25 000 Lire bei schon eifrig dabei, Puccini zu überreden, daß stelle/All the stars shone in heaven) aus dem im ersten Akt, das andere im letzten, kurz vor Sardou die Rechte erworben hatte. es ideale Bedingungen für ein Nachfolgestück III. Akt. der alles andere als vorgetäuschten Franchetti hatte 1892 für Aufsehen gesorgt, zu Bohème biete. Doch es sollte noch einige Gleich bei der Uraufführung, die am Hinrichtung. als er auf Verdis Empfehlung vom Teatro Zeit vergehen, bis Puccini anfing, daran zu 14. Januar 1900 am Teatro Costanzi in Rom Die Figur des sadistischen Baron Scarpia hat Carlo Felice in Genua beauftragt wurde, eine arbeiten. stattfand, war Tosca ein großer Erfolg; sechs ebenfalls ihre solistischen Momente, doch sind Oper über Columbus zu schreiben, die zur Eine der nützlichsten und übrigens auch Monate später kam die Oper in London wegen seines bösen Charakters die Vierhundertjahrfeier von dessen Seefahrt und profitabelsten Ideen Giulio Ricordis bestand heraus und im folgenden Jahr in New York. Augenblicke, in denen sein Bariton in den der Entdeckung der Neuen Welt aufgeführt darin, daß er Komponisten aussandte, um Seither hat sie sich als eines der robustesten Vordergrund tritt, selten vom Kontext der werden sollte. aufzupassen, daß ihre Werke schon bei der Werke Puccinis bewährt, und jede Sopranistin Opernhandlung abgehoben. Der erste ist das Franchettis Erfolg mit Cristoforo Colombo ersten Inszenierung an bedeutenden Bühnen mit einem Hang zur Dramatik fühlt sich Te Deum am Schluß des I. Akts; begleitet von zeigte, daß seine Talente in einem historischen richtig eingeführt wurden und eine Tradition davon angezogen wie Eisenspäne von einem einer unablässig wiederholten Tonfolge im Schauspiel mit Gepränge besser zur Geltung der Authentizität geschaffen wurde. Darum Magneten. Baß, beschreibt Scarpia dort sein Verlangen, kamen als bei der dramatischen Interaktion verwandte Puccini in den nächsten zwei Jahren Drei Arien, zwei für den Tenor und die Tosca zu besitzen, während sich zugleich das mehrerer Figuren. Es war Franchetti selbst, der viel Zeit darauf, den Start von La bohème in Sopranarie “Nur der Schönheit weiht’ ich Volk versammelt, um gemeinsam eine entschied, daß Tosca kein Stoff war, der seinen verschiedenen Städten zu beaufsichtigen. mein Leben” (Vissi d’arte, vissi d’amore/Life Siegeshymne zu singen. Im II. Akt, ehe Mario besonderen Fähigkeiten entsprach. Im März Im Juni 1898 hielt er sich in Paris auf, als has taught me singing and loving) aus dem Cavaradossi zum Verhör vorgeführt wird, 1895 stritt er sich zunächst mit Illica über La bohème, ins Französische übersetzt, dort an zweiten Akt, sind die bekanntesten Teile des erläutert Scarpia seine brutal hedonistische Änderungen am Libretto. Zwei Monate später der Opéra-Comique Premiere hatte. Während Werks. Sie zählen zu den am häufigsten Einstellung zum Leben und dessen Freuden. hatte er das Projekt endgültig aufgegeben, da er und Ricordi dort waren, machten sie dem aufgezeichneten Opernarien der Welt, und Und später im II. Akt verrät sich auf Toscas er, wie er später erklärte, “die Musik darin siebenundsechzigjährigen Sardou ihre man begegnet ihnen häufig als beliebte Frage, was nötig sei, um Marios Leben zu nicht spürte”. Aufwartung, und bei dieser Gelegenheit wurde Zugabe in Konzertprogrammen. Allen dreien retten, in seiner aufbrausend vertonten Mittlerweile komponierte Puccini Puccinis Begeisterung für Tosca eindeutig neu gemein sind bestimmte Vorzüge: Puccinis Antwort kurz sein Raubtierinstinkt. La bohème (Turin, 1896) nach einem Libretto entfacht. Illica überarbeitete zusammen mit üppig lyrischer Stil und emotionale Da gerade von Scarpia die Rede ist: von Illica und Giuseppe Giacosa, ein Werk, Giacosa das Libretto, um dem ausgeprägten Ausdruckskraft. Darüber hinaus sind sie relativ Das auffälligste der in der Partitur immer das sich als noch erfolgreicher erweisen sollte dramatischen Gespür des Komponisten zu kurz; keine dauert länger als rund drei wiederkehrenden Motive ist mit seiner Figur als Manon Lescaut. Ricordi hatte Illicas genügen. Puccini trug sogar selbst zum Minuten, da sie so gestaltet sind, daß sie den verbunden. Dieses Motiv ist das erste, was Libretto für Tosca wieder in Händen, nachdem Libretto bei, indem er den Text für einen der Erzählfluß nicht stören. Von diesen Soli man zu hören bekommt – eine laute sich Franchetti endgültig dagegen entschieden Glanzpunkte des Werks lieferte, die Tenorarie abgesehen sind Sopran und Tenor an zwei Akkordfolge, kurz bevor der Vorhang zum

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ersten Akt aufgeht. Sie erklingt erneut, wenn Begleitung von Toscas zweitem Abgang im Andere Beispiele für Stimmungsmusik verwechseln. Alle Opern sind ein Gemisch, Toscas Geliebter, der Maler Cavaradossi, dem I. Akt wieder auf – im Anschluß an ihre kommen im I. Akt vor, der in der römischen in dem sich Musik und Handlung untrennbar flüchtigen Angelotti sagt, wo er sich vor bestürzende Unterredung mit Scarpia. Kirche Sant’Andrea della Valle spielt. Kurz vor verbunden haben. Puccinis wunderbar Scarpia verbergen soll. Und später im I. Akt, Anklänge daran sind im Vorspiel zum III. Akt Marios Ankunft kniet der Mesner nieder und ausgeklügelte Partitur verwandelt Sardous wo Scarpia auf Angelottis Spur selbst die zu hören, und einige Minuten später, direkt rezitiert in Andante religioso bezeichnetem schäbige Figuren in einprägsam expressive, Kirche betritt, fungieren die unheilvollen nach “Und es blitzten die Sterne”, dient das Tempo das Angelusgebet. Am Ende des Akts die in ihren Stärken und Schwächen echte Akkorde als seine Visitenkarte. Nachdem er Thema als Grundlage für die ungestüme wird, während sich die Kirche mit Gläubigen Menschen sind. Man kann heutzutage nicht während des Te Deums seine Lüsternheit Musik, die Toscas Auftritt begleitet. füllt, ein Te Deum gesungen, werden Glocken damit rechnen, Sardous La Tosca je im offenbart hat, klingt der Akt mit den Puccini setzt Musik auch für deskriptive geläutet, erklingt festlicher Kanonendonner. Sprechtheater zu begegnen; dagegen ist bedrohlich plärrenden “Scarpia-Akkorden” Zwecke ein. Er tut dies am wirkungsvollsten In einem Text, der so erfüllt ist von Puccinis Oper ein fester Bestandteil des aus. Am Ende des II. Akts dagegen sind die im Vorspiel zum III. Akt. Nicht nur hören wir eindrucksvollem, klar motiviertem Handeln, gängigen Repertoires und wird es allen Akkorde, an der Stelle wo Tosca um Scarpias hinter der Bühne einen Hirtenjungen im bleibt kaum Platz für lyrische Weitschweifigkeit. Anzeichen nach noch eine ganze Weile bleiben. Leichnam herum die Kerzen aufstellt, noch örtlichen Dialekt ein Liedchen singen, sondern Eine von Puccinis schätzenswertesten einmal zu hören, nun jedoch anders auch aus verschiedener Perspektive das Läuten Eigenschaften als Opernkomponist ist sein © 1996 William Ashbrook harmonisiert und laut Partituranweisung naher und ferner Kirchenglocken, während feines Gespür für Zeiteinteilung auf der Bühne. “so leise wie möglich” gespielt. über der Engelsburg der Tag hereinbricht. Er erkannte die optimale Dauer für jede nur Inhaltsangabe Ein weiteres Thema, das mit ergreifender Im II. Akt liefert Puccini nicht nur die mögliche Episode. So steht beispielsweise die Wirkung immer wiederkehrt, ist zum ersten musikalische Grundlage für Text und Plötzlichkeit, mit der wir im I. Akt in das I. Akt Mal im E-Dur-Teil des Liebesduetts von Tosca Stimmung der Oper, sondern auch wie im Fall Geschehen hineinversetzt werden, in krassem Im Innern der Kirche Sant’Andrea della Valle und Mario Cavaradossi im I. Akt zu hören, des Hirtenjungen Musik, die die Figuren auf Gegensatz zum bedächtigen, von Glockengeläut Angelotti kommt in die Kirche geeilt und angefangen mit den Worten “Warum so der Bühne als Musik von hinter der Bühne erfüllten Vorspiel zum III. Akt; dort erzeugt der schlüpft in die private Kapelle der Familie eifersüchtig?” (Mia gelosa!/Why so jealous?). wahrnehmen. Gegen Anfang des II. Akts hört langsam voranschreitende Anfang Spannung, Attavanti. Seine Schwester, die mit dem Aus einer Anmerkung in der Urschrift von man ein kleines Orchester in den Kulissen eine die erst durch die unvermittelte Gewalttätigkeit Marchese Attavanti verheiratet ist, hat den Tosca geht hervor, daß diese entzückende Gavotte spielen. Und nicht lange danach sind der letzten paar Minuten aufgelöst wird. Schlüssel zur Kapelle für ihn hinterlegt, als sie Melodie offenbar das erste ist, was Puccini für Tosca und der Chor zu hören, offenbar aus Tosca ist eine Oper, die von vielen zum Beten in der Kirche war. Der Mesner das Werk komponierte; dies wird erhärtet den Gemächern der Königin im Palazzo verunglimpft wurde, von Leuten, die sich erscheint und reinigt einige Pinsel aus dem durch die Tatsache, daß sie auf einem eigenen Farnese; sie singen eine Kantate, um einen durch die Melodramatik der Handlung Besitz Cavaradossis, der dabei ist, ein Faszikel niedergeschrieben ist. Die Melodie Sieg zu feiern, der, wie sich später herausstellt, abgestoßen fühlten. Es ist jedoch ein Fehler, Gemälde der Maria Magdalena zu vollenden. taucht, nun eindrucksvoll durchgeführt, als eine Niederlage der königstreuen Kräfte war. die Oper insgesamt mit ihrer Fabel zu Der Maler hat die Reize seiner geliebten

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Tosca mit der Schönheit einer unbekannten um dem Mesner zu befehlen, er solle zur Feier Scarpia befiehlt, ihn in einer angrenzenden III. Akt Frau verbunden, die er beim Gebet in der des Sieges ein Te Deum ansetzen. Seine Kammer der Folter zu unterziehen. Eine Plattform auf der Engelsburg Kirche beobachtet hat. Nachdem der Mesner Männer weist er an, nach Anhaltspunkten für 6 – 7 Auch Tosca weigert sich, als sie befragt Man hört einen Hirtenjungen, der singend gegangen ist, kommt Angelotti hervor und Angelottis Verbleib zu suchen, und diese wird, Angelottis Aufenthaltsort zu verraten, bis seine Herde zusammentreibt. Cavaradossi bittet wird von Cavaradossi erkannt, der daraufhin werden alsbald gefunden: ein Schlüssel, ein sie das Wehklagen ihres Geliebten hört und um eine Feder und Papier, damit er Tosca einen das Kirchenportal verriegelt. Angelotti geleerter Proviantkorb, den Cavaradossi den Brunnen im Garten erwähnt. Abschiedsbrief schreiben kann. Spoletta kommt berichtet, daß er aus der Engelsburg geflohen dagelassen hat, und ein Fächer von Angelottis 8 Die Folter wird abgebrochen, und mit Tosca und geht wieder. ist, wo er auf Scarpias Befehl eingekerkert war. Schwester, der Marchesa Attavanti. Sciarrone erscheint mit der Nachricht, daß 12 Tosca zeigt Cavaradossi den Schutzbrief, und 1 Sie werden unterbrochen, als draußen vor 4 Als Tosca zurückkehrt, entfacht Scarpia mit Napoleon in der Schlacht von Marengo gesiegt er ist erfreut und erleichtert. der Kirche Toscas Stimme erklingt. Angelotti Hilfe des Fächers ihre Eifersucht, und sie hat. 13 Tosca ermahnt den Geliebten, seine Rolle zieht sich erneut in die Kapelle zurück. macht sich eilig auf zur Villa, um das Cavaradossi stimmt ein Loblied auf die überzeugend zu spielen, wenn es zur Cavaradossi läßt Tosca ein. schuldige Paar zu ertappen. Freiheit an, wofür Scarpia ihn erneut Hinrichtung kommt. 2 Sie stellt mit Bestürzung fest, daß das Bild Scarpia erteilt Befehl, ihr zu folgen, und festnehmen läßt. Er wird abgeführt und soll 14 Und er tut wie geheißen, denn die Maria Magdalenas der Marchesa Attavanti freut sich, zugleich den Flüchtling einfangen bei Morgengrauen hingerichtet werden. Gewehre sind geladen, und er stirbt ähnlich sieht. Cavaradossi erklärt, daß er sie und Toscas Gunst genießen zu können. 9 – 10 Allerdings sagt Scarpia zu, den tatsächlich. Es hat sich herumgesprochen, daß beim Beten in der Kapelle gesehen und nicht Maler unter der Bedingung freizulassen, Scarpia ermordet wurde, und die Schergen gewußt habe, wer sie war. II. Akt daß Tosca seine Avancen über sich ergehen sind hinter Tosca her. Sie erklimmt die 3 Er und Tosca singen ein Liebesduett. In Scarpias Gemächern im Palazzo Farnese läßt. Brüstung und springt in den Tod. Nachdem sie fort ist, planen Cavaradossi Scarpia speist allein, während die Königin 10 Spoletta kehrt mit der Neuigkeit zurück, und Angelotti dessen Flucht: Er soll im Schutz Maria Carolina im Erdgeschoß Gäste bewirtet. daß sich Angelotti bei seiner Entdeckung Übersetzung: Anne Steeb/Bernd Müller der Dunkelheit verkleidet zu Cavaradossis Spoletta kommt und meldet, daß sich die selbst entleibt habe, und Tosca erklärt ihre Villa eilen und sich im Garten in einem Durchsuchung von Cavaradossis Villa als Bereitschaft, sich Scarpia hinzugeben. Er weist Jane Eaglen gehört zu den renommiertesten Brunnen verstecken. Ein Kanonenschuß von fruchtlos erwiesen hat. Spoletta an, eine Scheinhinrichtung wie “im Opernsängerinnen unserer Zeit. Sie wurde in der Burg verkündet, daß Angelottis Flucht 5 Jedoch hat man ihn selbst festgenommen Falle Palmieri” vorzubereiten. Lincoln (England) geboren und studierte am entdeckt worden ist. Gleichzeitig überbringt und in den Palast gebracht hat. Während 10 – 11 Tosca besteht darauf, daß er einen Royal Northern College of Music, bevor sie der Mesner die (unwahre) Nachricht von Tosca zu Ehren der Königin eine Kantate Schutzbrief ausstellt, der ihr und Cavaradossi der English National Opera beitrat. Mit den Napoleons Niederlage bei Marengo. Die singt, verhört Scarpia Cavaradossi in freies Geleit garantiert. Während er noch gegensätzlichen Rollen der Norma und Kirche füllt sich mit einer jubelnden Menge, Gegenwart des Henkers und eines Richters. dabei ist, erblickt sie ein Messer und ersticht Brünnhilde feierte sie beispiellose Erfolge, und und Scarpia erscheint in Begleitung Spolettas, Cavaradossi leugnet, Angelotti zu kennen, und ihn damit. ihr dramatischer Sopran riss die Kritik

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weltweit zu spektakulären Anerkennungen National Opera, am Teatro Colón in Buenos David Parry hat bei Sergiu Celibidache Festival, in Japan anläßlich einer Carmen- hin. Ihre jüngsten Auftritte als Brünnhilde Aires und konzertant mit dem Cleveland studiert und seine berufliche Laufbahn als Tournee und in Mexiko mit dem UNAM (Siegfried) an der Lyric Opera of Chicago Symphony Orchestra; sowie die Titelrolle in Assistent von Sir John Pritchard begonnen. Er Symphony Orchestra. Zu den und anschließend im kompletten Ring in Ariadne auf Naxos an der English National hat am English Music Theatre debütiert und Neuproduktionen, die er in letzter Zeit Chicago, mit Riccardo Muti an der Mailänder Opera. wurde dann Dirigent mit Festvertrag an den dirigiert hat, zählen Fidelio beim New Zealand Scala, in San Francisco und in Wien schlugen Auch im Konzertrahmen kann sie Städtischen Bühnen Dortmund und an der Festival, Maria Stuarda am Stadttheater Basel ebenso groß ein. Die Brünnhilde hatte sie überzeugen, man denke an jüngste Ereignisse Opera North. Von 1983 bis 1987 war er und Lucia di Lammermoor an der New Israeli vorher bereits für die Opera Pacific und die wie Verdis Requiem mit Sir Simon Rattle und Musikdirektor der Opera 80 und seit 1992 Opera. Scottish Opera gesungen. Auch als Norma dem City of Birmingham Symphony Orchestra; Gründungsmitglied und Direktor der Almeida Seine Tätigkeit im Aufnahmestudio umfaßt konnte sie bei den Festspielen von Ravenna Mahlers Achte mit Klaus Tennstedt; Akt III der Opera. die Produktion von Marschners Der Vampyr mit Muti, an der Seattle Opera, der Los Götterdämmerung mit Bernard Haitink und Er übt in Großbritannien und international fürs BBC-Fernsehen und einundzwanzig Angeles Opera, der Opéra Bastille in Paris und dem Boston Symphony Orchestra; Nabucco in eine weitgespannte Tätigkeit in den Bereichen vollständige Opernaufzeichnungen unter der der Scottish Opera uneingeschränkt Ravenna mit Riccardo Muti; Gurrelieder mit Oper und Konzert aus, hat mehrere Schirmherrschaft der Peter Moores überzeugen. Claudio Abbado bei den Festspielen von Produktionen der English National Opera Foundation. Darunter befinden sich zahlreiche Andere denkwürdige Opernpartien waren Salzburg und Edinburgh; Norma bei den Tivoli- dirigiert und tritt regelmäßig mit dem Aufnahmen des Labels Opera Rara, die Isolde in Seattle, die sie vor kurzem auch zur Festspielen in Kopenhagen und in der Carnegie Philharmonia Orchestra auf. 1996 gab er sein mehrere Preise gewonnen haben, beispielsweise Begeisterung der Kritik an der Metropolitan Hall; sowie die Vier letzten Lieder von Strauss Debüt beim Glyndebourne Festival mit Così den belgischen Prix Cecilia für Donizettis Opera und der Lyric Opera of Chicago sang; mit Daniel Barenboim und dem Chicago fan tutte und hat dort 1998 die Uraufführung Rosmonda d’Inghilterra. Für Chandos hat er die ihr Rollendebüt als La Gioconda an der Lyric Symphony Orchestra. von Jonathan Doves Flight geleitet. Aufzeichnung von sieben Programmen mit Opera of Chicago; Donna Anna (Don Die Diskographie von Jane Eaglen umfasst Er ist häufig in Spanien zu Gast und hat Opernarien geleitet (mit Bruce Ford, Diana Giovanni) an der Metropolitan Opera und ein Album mit Arien von Wagner und Bellini, mit den meisten bedeutenden spanischen Montague, Dennis O’Neill, Alastair Miles, vorher an der Wiener Staatsoper und in ein weiteres mit Arien von Strauss und Orchestern Konzerte gegeben. In Madrid hat Yvonne Kenny, John Tomlinson und Della Los Angeles, München und Bologna; die Mozart, Mahlers Achte, Beethovens Neunte, er die spanische Erstaufführung von Peter Jones), außerdem Faust, Don Pasquale, L’elisir Titelrolle in Turandot an der Royal Opera, Bruckners Messe, Norma, Medea in Corinto für Grimes dirigiert, und 1996 die erste spanische d’amore, La bohème, Cavalleria rusticana, der Metropolitan Opera mit Pavarotti, in Opera Rara und für Chandos/Peter Moores Inszenierung von The Rake’s Progress. Er ist in Pagliacci, Il trovatore, die preisgekrönte Tosca Wien, Madrid, Seattle, Bologna und an der Foundation die preisgekrönte Tosca sowie Deutschland, Schweden und den und Highlights aus dem Rosenkavalier, jeweils Bastille, Paris; Amelia (Un ballo in maschera) Turandot und Aida. Jane Eaglen ist auch an Niederlanden aufgetreten, bei den Festspielen in Zusammenarbeit mit der Peter Moores in Bologna and an der Opéra Bastille; der Musik für den Film Sense and Sensibility in Pesaro, beim Hong Kong International Foundation. die Titelrolle in Tosca an der English (nach Jane Austen) beteiligt.

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Jane Eaglen in the title role of Cooper Bill Scottish Opera’s 1993 production Clive Barda/PAL Clive of Bellini’s Norma

Jane Eaglen as Mathilde in The Royal Opera’s 1992 production of Rossini’s Guillaume Tell

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Introduction

Jane Eaglen Mes premières “rencontres” avec Jane furent l’aisance avec laquelle elle pouvait maîtriser des 1994 pour Scottish Opera et participa à sa Il y a un peu plus d’un siècle, le monde de extrêmement heureuses. Je la découvris arias comme “Bel raggio” et “Casta diva”, et première intégrale du Ring en 1996 à Chicago l’opéra saluait l’arrivée d’une nouvelle soprano d’abord dans un enregistrement de Liebestod un Américain judicieux l’entendit et l’engagea avant de tenir le rôle d’Isolde à Seattle en colorature avec tout l’enthousiame réservé aux réalisé lors d’un concert au Royal Northern pour un récital new-yorkais durant la tournée 1998. événements exceptionnels, mais la denrée rare College of Music où elle étudia à partir de américaine de l’English National Opera en La voix de Jane Eaglen a gardé la souplesse depuis près de cent ans, ce sont les heldentenor 1982 avec Joseph Ward grâce à une bourse de 1984. Avec au programme les Wesendonck- de ses débuts et il serait difficile de trouver et plus encore, les sopranos dramatiques la Peter Moores Foundation. Frappé par cet Lieder et des joyaux de l’opéra italien, ce récital parmi les sopranos de son temps une Norma wagnériennes. En leur absence, il est enregistrement qui semblait garantir plus que fut un triomphe total. plus parfaite. Qu’elle soit à Covent Garden, La quasiment impossible, sinon impensable, de promettre un avenir glorieux à son interprète, Les occasions de concert se multiplièrent et Scala, Vienne ou au Metropolitan Opera à donner le Ring ou Tristan. Cette perle rare, je décidai immédiatement d’entendre cette son ascension de l’Everest fut éclairée par son New York, elle continue d’interpréter un large nous la tenons en la personne de Jane Eaglen voix de première main dans une version interprétation de rôles grandioses comme éventail de rôles, passant de Donna Anna et qui s’est révélée être, entre autres, une époustouflante d’Aïda dans l’Ile de Man, soirée Fiordiligi (1990) et Norma (1993) pour Turandot aux rôles wagnériens dans lesquels Brünnhilde et une Isolde de stature qui vint confirmer mes premières impressions; Scottish Opera, Ariane, Tosca et la Fée elle reste inégalée, marquant par des exceptionnelle. version époustouflante parce que l’opéra était Morgane (L’Amour des trois oranges) pour enregistrements chaque étape de son parcours Les interprètes de rôles héroïques ne accompagné uniquement au piano et que sur l’English National Opera; elle fut aussi une vers le sommet. s’imposent pas du jour au lendemain sur la les six chanteurs fraîchement moulus du Royal Sieglinde électrifiante au sein d’une scène lyrique. Si Kirsten Flagstad elle-même fit Northern College of Music, cinq se firent un distribution éclatante, dans l’Acte III de son apprentissage sur les pentes douces de nom dans le chant. Jane Eaglen faisait partie Die Walküre lors d’un Promenade Concert à l’Everest avec des rôles comme Mimì et la de ces cinq jeunes: elle passa une audition au Londres. Sa voix possédait une splendeur Veuve joyeuse, Jane Eaglen suivit un parcours Coliseum et fut immédiatement engagée par wagnérienne manifeste; elle fut pour la © 2001 Lord Harewood identique puisqu’elle accumula bon nombre de l’English National Opera; toutefois, la première fois Brünnhilde dans Die Walküre en Traduction: Nicole Valencia rôles comme Berta (Il barbiere di Siviglia), la distribution des rôles pour la saison 1983/84 prêtresse (Aïda) et Lady Ella (Patience) avant était déjà pratiquement terminée et Jane dut d’être promue aux rôles de la Princesse donc patienter avant de pouvoir chanter ces étrangère de Dvorvák, de Tosca et de Norma et grands rôles pour lesquels sa voix semblait d’être promise à un brillant avenir. faite. La réputation de Jane grandit, elle révéla

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entendre. Plus probablement encore le changement d’opinion soudain de Sardou un Puccini: Tosca dramaturge, ayant exigé une part des profits de geste grossier et insultant. Le changement d’avis La Tosca de Puccini, fut déçu par le peu de Puccini laissa Ricordi avec le livret de Tosca C’est en 1889 que Giacomo Puccini, alors âgé l’éditeur de musique milanais Giulio Ricordi d’argent qu’avaient rapporté Le Villi et Edgar. d’Illica sur les bras. (Il est à noter que le titre de de trente-cinq ans, vit à deux reprises Sarah continuât de payer une modeste provision à Ricordi n’informa pas Puccini de ce l’opéra omet l’article défini “La” de la pièce). Bernhardt dans le grand mélodrame de Puccini dans l’espoir qu’il composa un véritable changement de situation. Pendant ce temps-là, L’éditeur tenta alors avec ruse d’intéresser à ce Victorien Sardou datant de 1887, La Tosca, succès, faisant ainsi faire de gros bénéfices à la Puccini avait composé Manon Lescaut, bien sujet un autre compositeur de son écurie. C’est et s’aperçut qu’il s’agissait-là d’un sujet qu’il Casa Ricordi et octroyant d’importants droits que Massenet eût déjà mis en musique ce sujet à ce moment seulement qu’entra en scène désirait fortement transformer en opéra. La d’auteur au compositeur. Très excité et avec succès, moins de dix ans auparavant. Alberto Franchetti (1860–1942). pièce, conçue spécialement pour Bernhardt, convaincu que La Tosca de Sardou constituait Dans ses efforts à faire avancer la carrière de Un certain nombre d’écrivains, s’adonnant offrait à cette actrice la possibilité de déployer un sujet très prometteur pour un opéra, Puccini, Giulio Ricordi se procura même les au jeu autrefois populaire de dénigrer Puccini, pleinement ses talents dramatiques. Dans un Puccini persuada Ricordi dans le courant de droits italiens de Manon de Massenet dans ont déclaré que Puccini ne commença vraiment cadre pseudo-historique, l’intrigue lui l’automne 1890 de négocier avec l’agent de l’intention d’en empêcher l’interprétation en à s’intéresser au sujet de la Tosca que lorsqu’il permettait de jouer le rôle d’une cantatrice Sardou à Paris afin de voir si celui-ci accepterait Italie avant que l’opéra de Puccini Manon apprit que Franchetti y travaillait et que tour à tour capricieuse, jalouse, amoureuse, de vendre ses droits d’adaptation de la pièce en Lescaut fût bien établi au sein du répertoire. Puccini et Ricordi dupèrent Franchetti en lui en danger, meurtrière, accablée de douleur et, opéra, et dans quelles conditions. Au mois de Présenté au Teatro Regio de Turin en février faisant croire que le sujet était loin d’être idéal, pour finir dans un grand geste théâtral, janvier 1891, alors que l’accord au sujet des 1893, Manon Lescaut se révéla être un succès permettant ainsi à Puccini de l’utiliser tout à suicidaire, alors qu’elle se jette du haut des droits semblait définitif, Ricordi, à la demande très encourageant. son gré. Deborah Burton a démontré de façon remparts de Castel Sant’Angelo. de Puccini, chargea le librettiste Luigi Illica Le 29 juillet 1893 Ricordi écrivit à l’agent de concluante la fausseté de cette impression en Ayant vu la pièce en français, langue que de convertir le mélodrame en cinq actes de Sardou que Puccini, n’ayant pas encore faisant des recherches très complètes dans les Puccini connaissait à peine, il réalisait Sardou en un livret d’opéra en trois actes. connaissance de l’opinion de Sardou, était archives Ricordi sur les papiers ayant rapport à parfaitement que le sujet de La Tosca Le 13 décembre 1891 Ricordi annonça dans sa froissé par le long silence de celui-ci et avait la composition de Tosca. Au mois de juillet s’adapterait très bien à la scène lyrique, puisque revue la Gazzetta Musicale que Puccini allait complètement abandonné le projet. Mais en 1894, le livret d’Illica fut remis au riche les opéras ne reposent pas seulement sur les composer Tosca. octobre 1893 Sardou, qui avait évidemment Franchetti, qui acquit les droits de Sardou pour paroles comme moyen de communication. Ces projets s’évaporèrent soudain au mois appris la réussite de Manon Lescaut lors de la la somme de 25,000 lires. A l’époque Puccini avait déjà composé deux de décembre 1892 quand Sardou, qui avait un première, annonça à Ricordi que Puccini Franchetti avait fait sensation en 1892 opéras, Le Villi et Edgar, aucun des deux côté très pratique, décida après avoir entendu devrait être après tout le compositeur de Tosca. lorsque, sur une recommendation de Verdi, n’ayant remporté un succès absolu. Ils étaient de la musique de Puccini que ce n’était pas Encouragé par l’enthousiasme avec lequel il remporta une commande du Teatro Carlo cependant suffisamment prometteurs pour que aussi prometteur que Ricordi le lui avait laissé Manon Lescaut avait été reçu, Puccini vit dans le Felice de Gênes afin d’écrire un opéra sur le

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sujet de Christophe Colomb pour célébrer le L’une des idées de Giulio Ricordi les plus suivante à New York. Depuis lors c’est devenu contexte de l’interprétation de l’opéra. Son quatre centième anniversaire du voyage du utiles, et les plus fructueuses également, fut l’une des œuvres de Puccini les mieux établies premier solo est le Te Deum de la fin du navigateur et de sa découverte de ce qui était d’envoyer un compositeur pour superviser la dans le répertoire et toute soprano ayant un premier acte dans lequel, sur une séquence en fait l’hémisphère ouest. présentation de ses œuvres lors des premières penchant pour les œuvres dramatiques s’y sans cesse répétée à la basse, il décrit son désir Le succès que remporta Franchetti avec son productions de celles-ci dans les grands trouve attirée comme à un aimant. de posséder Tosca tandis que, pendant ce Cristoforo Colombo démontra que ses talents théâtres afin d’établir une tradition Trois airs, deux pour ténor, et l’air de la temps-là, l’assemblée se réunit pour chanter un étaient mieux mis en valeur dans un spectacle authentique. Ainsi au cours des deux années soprano du deuxième acte “D’art et d’amour hymne victorieux. Dans le deuxième acte, de type reconstitution historique que dans un suivantes, Puccini passa une grande partie de je vivais toute” (Vissi d’arte, vissi d’amore/Life avant que l’on fasse entrer Mario pour spectacle favorisant l’interaction dramatique son temps à superviser les débuts de La bohème has taught me singing and loving) sont les l’interroger, Scarpia expose avec violence son des personnages. C’est Franchetti lui-même dans divers opéras. Au mois de juin 1898 il se morceaux les plus connus de la partition. Ils approche hédoniste brutale de la vie et de ses qui décida que Tosca ne convenait pas à son trouvait à Paris pour la première représentation comptent également parmi les extraits d’opéra plaisirs. Plus tard, toujours dans le deuxième talent particulier et au mois de mars 1895, de La bohème à l’Opéra-Comique dans une les plus fréquemment enregistrés dans le acte, en réponse à Tosca qui lui demande il discutait avec Illica des changements du traduction française. Il profita de son séjour à monde entier, et on les trouve souvent en bis comment elle pourrait sauver Mario, il laisse livret. Deux mois plus tard il avait Paris avec Ricordi pour faire une visite d’usage fort appréciés du public dans des programmes brièvement entrevoir son côté prédateur dans définitivement abandonné le projet car, à Sardou, alors âgé de soixante-sept ans et c’est de concert. Ils ont en commun certaines une ligne vocale puissante. comme il l’expliqua par la suite, “Je n’y sentais à cette occasion que l’enthousiasme de Puccini caractéristiques parmi lesquelles le lyrisme et Toujours à propos de Scarpia, le thème que pas la musique”. pour Tosca se ranima. Illica, avec l’aide de l’expressivité émotionnelle riches de Puccini. l’on retrouve le plus souvent dans la partition Pendant ce temps, Puccini composait Giacosa, retravailla le livret pour qu’il Par ailleurs, ils sont relativement courts, aucun est celui qui est lié à son personnage. La bohème (Turin, 1896) sur un livret d’Illica corresponde aux exigences du sens théâtral du d’entre eux ne durant plus de trois minutes Ce thème est la première musique que l’on et de Giuseppe Giacosa, œuvre qui allait compositeur. Puccini contribua même environ, puisqu’ils sont conçus de manière à entend, une forte succession d’accords juste remporter un succès encore plus grand que personnellement au livret, écrivant les paroles ne pas interrompre l’action. En plus de ces avant le lever de rideau du premier acte. Manon Lescaut. En juillet 1895 Ricordi avait de l’un des plus grands moments de la trois solos, la soprano et le ténor prennent part Ces accords réapparaissent, ayant subi des tenté de persuader Puccini que le livret d’Illica partition, l’air du ténor du troisième acte à deux duos d’amour saisissants: l’un dans le transformations, lorsque l’amant de Tosca, le de Tosca, désormais de nouveau entre ses “Le ciel luisait d’étoiles” (E lucevan le stelle/ premier acte et l’autre dans le dernier acte, peintre Cavaradossi, dit au fugitif Angelotti où mains puisque Franchetti y avait All the stars shone in heaven). juste avant le faux simulacre d’exécution. se cacher pour échapper à Scarpia. Par la suite, définitivement renoncé, constituait une œuvre Tosca remporta un grand succès lors de la Le personnage du sadique Baron Scarpia a toujours dans le premier acte, lorsque Scarpia idéale pour faire suite à La bohème. Il fallut première qui eut lieu au Teatro Costanzi de également des solos mais, étant donné sa lui-même entre dans l’église, ayant retrouvé la attendre un certain temps avant que Puccini Rome le 14 janvier 1900. Six mois plus tard mauvaise nature, ses moments proéminents en piste d’Angelotti, ces accords sinistres lui ne se mît au travail. l’œuvre fut présentée à Londres et l’année tant que baryton sont rares en dehors du servent de carte de visite. Après avoir exposé sa

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nature hypocrite et lubrique au cours du Te juste après “Le ciel luisait d’étoiles”, ce thème Juste avant l’arrivée de Mario, le sacristain peu intéressants de Sardou en des personnages Deum, l’acte se termine par les “accords de sert de base à l’impétueuse musique s’agenouille et récite l’Angélus, dans un tempo mémorablement expressifs, tout à fait humains Scarpia” retentissant de façon menaçante. accompagnant l’entrée de Tosca. marqué Andante religioso. A la fin de cet acte, dans leurs forces et leurs faiblesses. On ne À la fin du deuxième acte, cependant, alors Puccini utilise également la musique à des tandis que l’église se remplit de fidèles, on s’attendrait pas de nos jours à voir La Tosca de que Tosca dispose des bougies autour du fins descriptives, ce qu’il fait de manière très chante un Te Deum pendant que les cloches Sardou au théâtre, mais l’opéra de Puccini est cadavre de Scarpia, les accords se font de éloquente dans le prélude du troisième acte. sonnent et que l’on tire des coups de canon bien établi dans le répertoire et cela nouveau entendre mais ils sont désormais Nous entendons non seulement dans les pour les festivités. apparemment pour longtemps. harmonisés de manière différente et joués coulisses le jeune berger chanter une Dans une intrigue si pleine d’action intense “aussi doucement que possible” selon les chansonnette dans le dialecte local, mais nous et clairement motivée, il y a peu de place pour © 1996 William Ashbrook indications de la partition. entendons également retentir sous des angles l’effusion lyrique. L’un des plus grands talents Traduction: Florence Daguerre de Hureaux Un autre thème réapparaît régulièrement différents des cloches proches et lointaines de Puccini en tant que compositeur lyrique avec un effet poignant et on l’entend d’abord tandis que le jour se lève sur le Castel est son sens aigu de ce que l’on appelle Argument dans la section en mi majeur du duo d’amour Sant’Angelo. Et dans le deuxième acte, Puccini “le minutage théâtral”. Il connaissait du premier acte entre Tosca et Mario utilise de la musique non seulement comme parfaitement la durée optimale de chaque Acte I Cavaradossi, qui commence avec les paroles base du discours lyrique et de l’atmosphère section. Par exemple, la soudaineté avec L’intérieur de l’église Sant’Andrea della Valle “Ma jalouse!” (Mia gelosa!/Why so jealous?). mais également en tant que sonorité que les laquelle nous sommes lancés dans l’action au Angelotti entre en hâte dans l’église et se glisse D’après une note dans la partition autographe personnages sur scène entendent en musique début du premier acte est en parfait contraste à l’intérieur de la chapelle privée de la famille de Tosca, renforcée par le fait qu’elle est écrite de fond provenant des coulisses, comme c’est avec le prélude tranquille du troisième acte Attavanti. Sa sœur qui a épousé le marquis sur un morceau de papier à musique séparé, le cas du chant du berger. Au tout début du rempli de sons de cloches, où ce Attavanti a caché la clé de la chapelle à son cette ravissante mélodie est apparemment la deuxième acte, un petit orchestre en coulisses commencement lent crée un suspense qui ne intention lors d’une visite à l’église pour prier. première musique qu’ait composé Puccini joue une gavotte. Et, peu après, apparemment disparaît qu’avec la soudaine violence des Le sacristain entre pour nettoyer des pinceaux pour cette œuvre. Cette mélodie réapparaît, dans les appartements de la reine au Palazzo quelques dernières minutes. appartenant à Cavaradossi qui est en train de désormais développée de manière Farnese, Tosca et le chœur chantent une Tosca subit beaucoup de critiques à cause du finir un tableau représentant Marie-Madeleine. impressionnante, sous forme cantate pour célébrer une victoire qui, côté mélodramatique de l’intrigue. C’est Le peintre y a mêlé les charmes de sa Tosca d’accompagnement de la deuxième sortie de ironiquement, se révèle être par la suite une toutefois une erreur de confondre l’opéra avec bien-aimée à la beauté d’une inconnue qu’il a Tosca au premier acte – après sa discussion défaite des forces royalistes. son intrigue. Tous les opéras sont des vue prier dans l’église. Lorsque le sacristain désagréable avec Scarpia. Puccini y fait Nous trouvons d’autres exemples de amalgames dans lesquels musique et intrigue s’en va, Angelotti, qui sort de sa cachette, est également allusion dans le prélude du musique ambiante dans le premier acte, dans sont devenus inséparables. La partition bien reconnu par Cavaradossi qui ferme à clé la troisième acte et quelques minutes plus tard, l’église romaine de Sant’Andrea della Valle. mesurée de Puccini transforme les personnages porte de l’église. Angelotti explique qu’il vient

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de s’échapper du château Saint-Ange où il entendu trouvés: une clé, un panier vidé de ses 8 La torture s’arrête et Sciarrone entre avec la bien jouer son rôle au moment de avait été emprisonné sur l’ordre de Scarpia. provisions que Cavaradossi a laissé et un nouvelle que Napoléon a triomphé à la bataille l’exécution. 1 Leur conversation est interrompue par le éventail appartenant à la sœur d’Angelotti, la de Marengo. Cavaradossi, qui entame un 14 Il ne peut guère faire autrement, car il est son de la voix de Tosca à l’extérieur de l’église, marquise Attavanti. hymne à la gloire de la liberté, est remis aux tué – les fusils étaient chargés. La nouvelle du Angelotti retourne dans la chapelle. 4 Lorsque Tosca revient, Scarpia se sert de arrêts par Scarpia et emmené pour être fusillé à meurtre de Scarpia s’est répandue et ses agents Cavaradossi fait entrer Tosca. l’éventail pour éveiller la jalousie de la jeune l’aube. sont à la poursuite de Tosca. Elle monte sur les 2 Elle est troublée de voir que le portrait de femme qui se rend en tout hâte à la villa, 9 – 10 Scarpia promet alors de remettre le remparts et se jette dans le vide. Marie-Madeleine ressemble à la marquise espérant y surprendre les deux coupables. peintre en liberté à condition que Tosca cède à Attavanti. Cavaradossi explique qu’il a vu cette Scarpia donne l’ordre qu’on la suive, se ses avances. Jane Eaglen jouit d’une réputation dernière prier dans la chapelle, mais qu’il ne réjouissant d’avance à l’idée d’attraper le fugitif 10 Spoletta revient pour annoncer remarquable sur la scène lyrique savait pas qui elle était. et d’obtenir les faveurs de Tosca. qu’Angelotti s’est tué lorsqu’ils l’ont découvert, contemporaine. Née à Lincoln, elle fit ses 3 Les deux amants chantent ensuite un duo et Tosca accepte de se donner à Scarpia. Ce études au Royal Northern College of Music d’amour. Acte II dernier dit à Spoletta de simuler une exécution avant de chanter à l’English National Opera. Une fois Tosca partie, Cavaradossi et Les appartements de Scarpia au palais Farnèse “comme pour Palmieri”. Excellant dans les rôles contrastés de Norma et Angelotti préparent la fuite de ce dernier: Scarpia dîne seul tandis qu’à l’étage inférieur la 10 – 11 Tosca insiste pour qu’il rédige un sauf- Brünnhilde, elle possède un soprano quand la nuit tombera, portant un reine Caroline reçoit. Spoletta entre pour conduit pour Cavaradossi et elle; mais, tandis dramatique exceptionnel qui lui a valu des déguisement, il devra se rendre en hâte à la annoncer que la villa de Cavaradossi a été qu’il s’exécute, la jeune femme, voyant un commentaires spectaculaires dans le monde villa de Cavaradossi et se cacher dans un puits fouillée en vain. couteau, le frappe avec. entier. Les critiques ont récemment salué avec du jardin. On entend un coup de canon 5 Mais ils ont arrêté le peintre et l’ont amené enthousiasme sa Brünnhilde (Siegfried) pour le provenant de la citadelle – il signale que au palais. Pendant que Tosca chante une Acte III Lyric Opera of Chicago puis son intégrale du l’évasion d’Angelotti a été découverte. Le cantate en l’honneur de la reine, Scarpia Une terrasse du château Saint-Ange Ring, d’abord sur cette même scène, puis avec sacristain entre en même temps pour annoncer interroge Cavaradossi en présence du bourreau On entend un jeune berger chanter en Riccardo Muti à La Scala de Milan, à San la (fausse) nouvelle de la défaite de Napoléon à et d’un juge. Comme le peintre nie toute conduisant son troupeau. Cavaradossi Francisco et à Vienne. Elle avait déjà interprété Marengo. Un foule joyeuse emplit l’église et connaissance d’Angelotti, Scarpia ordonne demande plume et papier pour écrire une le rôle de Brünnhilde pour Opera Pacific et Scarpia, entrant accompagné de Spoletta, qu’il soit torturé dans une pièce attenante. lettre d’adieu à Tosca. Spoletta entre Scottish Opera. Elle a aussi triomphé dans le commande au sacristain de préparer un Te 6 – 7 Questionnée, Tosca refuse aussi de accompagné de Tosca, puis se retire. rôle de Norma au Festival de Ravenne avec Deum pour célébrer la victoire. Il ordonne à révéler la cachette d’Angelotti jusqu’à ce que, 12 Tosca montre le sauf-conduit à Cavaradossi Muti, avec le Seattle Opera, le Los Angeles ses hommes de chercher des indices pouvant entendant les plaintes de son amant, elle qui est ravi et soulagé. Opera, à l’Opéra-Bastille à Paris et avec les amener à Angelotti, et ces indices sont bien mentionne le puits se trouvant dans le jardin. 13 Tosca est soucieuse de voir son amant Scottish Opera.

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Parmi ses autres rôles mémorables, notons Claudio Abbado aux Festivals de Salzbourg et Sa carrière, nationale et internationale, est de Nouvelle-Zélande, Maria Stuarda au Isolde à Seattle, un rôle qu’elle reprit d’Edimbourg, une version de concert de extrêmement remplie, aussi bien sur la scène Théâtre de Bâle et Lucia di Lammermoor avec récemment au Metropolitan Opera et au Lyric Norma au Festival Tivoli à Copenhague et au lyrique qu’en concert. Il a dirigé plusieurs le New Israeli Opera. Opera of Chicago, déchaînant l’enthousiasme; Carnegie Hall et enfin Vier letzte Lieder de productions de l’English National Opera et En studio, il a participé entre autres à la La Gioconda pour la première fois, au Lyric Strauss avec Daniel Barenboim et le Chicago collabore régulièrement avec le Philharmonia production de la BBC Television de Der Opera of Chicago; Donna Anna (Don Symphony Orchestra. Orchestra. C’est avec Così fan tutte qu’il fit ses Vampyr de Marschner, dirigeant aussi vingt et Giovanni) au Metropolitan Opera – un rôle Jane Eaglen a plusieurs enregistrements à débuts au Festival de Glyndebourne en 1996, une intégrales d’opéras financées par la Peter qu’elle avait déjà interprété pour l’Opéra d’état son actif dont un disque d’arias de Wagner et une scène qu’il retrouva en 1998 pour diriger Moores Foundation. Plusieurs de ces intégrales de Vienne et à Los Angeles, Munich et Bellini, un autre d’arias de Strauss et Mozart, la création mondiale de Flight de Jonathan furent enregistrées pour Opera Rara et Bologne; le rôle-titre de Turandot au Royal la Huitième Symphonie de Mahler, la Dove. primées, Rosmonda d’Inghilterra de Donizetti Opera, au Metropolitan Opera avec Pavarotti, Neuvième Symphonie de Beethoven, la Messe Il séjourne fréquemment en Espagne où il a recevant en Belgique le Prix Cecilia. Pour à Vienne, Madrid, Seattle, Bologne et à de Bruckner, Norma, et Medea in Corinto pour dirigé en concert la plupart des grands Chandos, Parry a dirigé sept enregistrements l’Opéra-Bastille à Paris; Amelia (Un ballo in Opera Rara. Pour Chandos, en collaboration orchestres espagnols. C’est lui qui dirigea la d’airs d’opéra (avec Bruce Ford, Diana maschera) à Bologne et à l’Opéra-Bastille; le avec la Peter Moores Foundation, elle a première espagnole de Peter Grimes à Madrid et Montague, Dennis O’Neill, Alastair Miles, rôle-titre de Tosca pour l’English National participé à l’enregistrement primé de Tosca en 1996 la première production espagnole de Yvonne Kenny, John Tomlinson et Della Opera, le Teatro Colon à Buenos Aires et dans ainsi qu’à des enregistrements de Turandot et The Rake’s Progress. Il a dirigé en Allemagne, en Jones) de même que Faust, Don Pasquale, une version de concert avec le Cleveland Aïda. On la retrouve aussi dans la bande Suède, aux Pays-Bas, au Festival de Pesaro en L’elisir d’amore, La bohème, Cavalleria Symphony Orchestra; enfin, le rôle-titre sonore du film de Sense and Sensibility [Raison Italie, au Festival international de Hong-Kong, rusticana, Pagliacci, Il trovatore, d’Ariadne auf Naxos pour l’English National et sentiments] d’après Jane Austen. au Japon pour une tournée de Carmen et au l’enregistrement primé de Tosca et des extraits Opera. Mexique avec l’Orchestre symphonique de Der Rosenkavalier, tous ces enregistrements Jane Eaglen est tout aussi à l’aise dans la Après avoir étudié avec Sergiu Celibidache, d’UNAM. Il a récemment dirigé plusieurs étant réalisés en collaboration avec la Peter salle de concert où elle a récemment chanté le David Parry commença sa carrière comme nouvelles productions dont Fidelio au Festival Moores Foundation. Requiem de Verdi avec sir Simon Rattle et le assistant de Sir John Pritchard. Il fit ses débuts City of Birmingham Symphony Orchestra, la avec l’English Music Theatre avant de devenir Huitième Symphonie de Mahler avec Klaus l’un des chefs d’orchestre au Städtische Tennstedt, l’Acte III de Götterdämmerung avec Bühnen à Dortmund et à Opera North. Bernard Haitink et le Boston Symphony Directeur musical d’Opera 80 de 1983 à 1987, Orchestra; elle a interprété Nabucco à Ravenne il est directeur musical d’Almeida Opera avec Riccardo Muti, les Gurrelieder avec depuis sa fondation en 1992.

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Jane Eaglen in the title role of English National Opera’s 1994/95 production of Clive Barda/PAL Clive Richard Strauss’s Ariadne on Naxos Barda/PAL Clive

Jane Eaglen as Donna Anna in English National Opera’s 1990/91 production of Mozart’s Don Giovanni

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Introduzione

Jane Eaglen da un concerto presso il Royal Northern tournée americana del 1984 dell’English La voce di Jane Eaglen ha conservato gran Più di un secolo fa, nel mondo lirico si College of Music, dove il soprano aveva vinto National Opera. L’interpretazione dei parte della flessibilità dei primi anni e sarebbe festeggiava soprattutto l’arrivo di una nuova una borsa di studio di Peter Moores per Wesendonck-lieder oltre che dei brani italiani difficile indicare una Norma più completa tra i stella del repertorio di coloratura, ma per gran studiare con Joseph Ward dal 1982. La riscosse un notevole successo. soprani contemporanei. Jane Eaglen canta al parte del secolo scorso si è salutato con più registrazione mi colpì più come pegno di Le possibilità non tardarono a venire e la Covent Garden, alla Scala, a Vienna e al entusiasmo un nuovo heldentenor o, ancora di gloria futura piuttosto che come semplice scalata alla vetta veniva illuminato da Metropolitan di New York. Versatilità più, un soprano drammatico wagneriano. promessa; immediatamente dopo, a conferma interpretazioni di grandi ruoli quali Fiordiligi continua ad essere la sua parola d’ordine: le Senza di loro, opere come il Ring o Tristan delle mie prime impressioni, ci fu l’esperienza (1990) e Norma (1993) per la Scottish Opera, interpretazioni di Donna Anna e Turandot si non sono solo impensabili, ma impossibili da diretta di una straordinaria Aida sull’Isola di Ariadne, Tosca e Fata Morgana (L’amore delle alternano al repertorio di Wagner che la vede interpretare. Un fenomeno del genere è Jane Man. Un’esperienza straordinaria, perché tre melarance) per l’English National Opera, e regina incontrastata e con registrazioni che Eaglen, che tra l’altro, è una Brünnhilde e una l’opera aveva solo l’accompagnamento del un’elettrizzante Sieglinde in un ottimo Atto III segnano ogni progresso verso la vetta. Isolde di calibro straordinario. pianoforte. Dei sei diplomati del Royal della Walküre in un concerto londinese della Interpreti dei ruoli eroici non si nasce. Northern College of Music che serie dei Prom. Lo splendore wagneriano della Persino Kirsten Flagstad, con Mimì e la l’interpretavano, cinque fecero carriera. voce era chiaramente riconoscibile. La prima Vedova allegra, rimaneva alle pendici, lontana Jane Eaglen fu una di loro e un’audizione Brünnhilde nella Walküre giungeva nel 1994 dalla vetta, e Jane Eaglen non ha fatto al Coliseum le conquistò un ingaggio per la Scottish Opera, il primo Ring completo eccezione, con un corredo di parti come immediato con l’English National Opera, nel 1996 a Chicago; a questo seguiva Isolde a © 2001 Lord Harewood Berta (Il barbiere di Siviglia), la Sacerdotessa anche se per la maggior parte della stagione Seattle nel 1998. Traduzione: Emanuela Guastella (Aida) e Lady Ella (Patience), prima di essere 1983/84 il cast era già stato deciso e quindi promossa al ruolo di Principessa straniera esistevano poche prospettive immediate per i di Dvorvák, Tosca e Norma. A questo punto ruoli importanti che la sua voce sembrava il futuro sembrava pronto ad aprirsi davanti richiedere insistentemente. Una migliore a lei. conoscenza di Jane rivelava una facile Io sono stato fortunato nei miei primi padronanza di arie quali “Bel raggio” e incontri con Jane Eaglen. Per prima cosa ho “Casta diva”. Un astuto americano la sentì e ascoltato una registrazione del Liebestod tratta l’ingaggiò per un recital a New York durante la

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Ricordi aveva cercato di prospettarla, ma – Lescaut era stata ricevuta, Puccini interpretò Giacomo Puccini: Tosca molto probabilmente – l’autore, che aveva il subitaneo cambiamento d’opinione di preteso una percentuale sui proventi del Sardou come un gesto grossolano ed un Fu nel 1889 che il trentacinquenne Giacomo nella speranza che producesse un genuino La Tosca operistica, era rimasto deluso dalla insulto personale. Il mutamento d’animo di Puccini vide, due volte, Sarah Bernhardt nel successo, tale da fruttare ricchi profitti per negligibile capacità di guadagno dimostrata da Puccini lasciò il libretto scritto da Illica per melodramma di Victorien Sardou, La Tosca Casa Ricordi e generosi diritti d’autore per il Le Villi e da Edgar. Ricordi non informò Tosca sulle spalle di Ricordi. (A proposito, (dell’anno 1887), e lo riconobbe quale un compositore. Spronato dalla convinzione Puccini di questo sviluppo. Frattanto Puccini il titolo dell’opera omette l’articolo “La” che soggetto che assai avrebbe desiderato che La Tosca di Sardou offriva materiale aveva composto Manon Lescaut, nonostante la appare nel dramma). A questo punto l’astuto convertire in opera. Il dramma, inteso come oltremodo promettente per un’opera, popolare versione di Massenet dello stesso editore si mise a cercare d’interessare al strumento per l’arte della Bernhardt, offriva nell’autunno del 1890 Puccini persuase soggetto non avesse ancora dieci anni di vita. soggetto un altro compositore della sua all’attrice ampie possibilità di gagliardi Ricordi a scoprire dall’agente parigino di Nei suoi sforzi di promuovere la carriera di scuderia. È solo a questo momento che entra istrionismi. La trama, posta in un ambiente Sardou a quali condizioni Sardou avrebbe Puccini Giulio Ricordi persino s’impossessò in argomento Alberto Franchetti pseudo-storico, le assegnava il ruolo di venduto i diritti per una versione operistica dei diritti italiani della Manon di Massenet con (1860–1942). cantante lirica: capricciosa, gelosa, amorosa, del suo dramma. Nel gennaio 1891, quando l’intenzione di precludere la sua Un certo numero di scrittori che hanno vulnerabile, micidiale, affranta e, in un ultimo pareva raggiunto un accordo sui diritti, rappresentazione in Italia fin quando la partecipato nello sport, un tempo popolare, gesto teatrale, suicida allorché si getta dai Ricordi, dietro suggerimento di Puccini, Manon Lescaut di Puccini non si fosse di denigrare Puccini, hanno affermato che bastioni di Castel Sant’Angelo. diede al librettista Luigi Illica il compito affermata nel repertorio. Presentata al Teatro l’interesse di Puccini al soggetto della Tosca Vedendo il dramma recitato in francese, di ridurre il melodramma in cinque atti di Regio di Torino nel febbraio 1893 Manon venne risvegliato solo quando seppe che lingua che Puccini conosceva appena, egli Sardou in un testo per un’opera in tre atti. Lescaut registrò un successo incoraggiante. Franchetti stava lavorandoci, e che Puccini e afferrò la potenzialità de La Tosca come soggetto Il 13 dicembre 1891 un annuncio che Puccini Il 29 luglio 1893 Ricordi scrisse all’agente Ricordi ingannarono Franchetti circa la sua che ben si adattava alla scena lirica, dato che le avrebbe composto La Tosca apparve sulla di Sardou che Puccini, tuttora all’oscuro adattabilità, con ciò lasciando a Puccini via opere non comunicano con le sole parole. Gazzetta Musicale, organo interno di Casa dell’opinione di Sardou, era offeso dal lungo libera per la sua realizzazione. Che tale A questo momento Puccini aveva composto Ricordi. silenzio e si era interamente ritirato dal impressione sia falsa è stato pienamente due opere, Le Villi e Edgar: in ambedue i casi Tali prospettive svaporarono progetto. Ma nell’ottobre 1893 Sardou, che dimostrato da Deborah Burton che ha fatto il successo non era stato incondizionato. improvvisamente nel dicembre 1892 allorché ovviamente aveva ricevuto buoni rendiconti minuziose ricerche negli archivi di Ricordi per Eppure tutt’e due avevano dimostrato Sardou, che aveva in sé una natura del lancio di Manon Lescaut, informò Ricordi quanto si riferisce alla composizione di Tosca. sufficienti promesse da persuadere l’editore profondamente pratica, avendo ascoltato che, dopotutto, Puccini sarebbe stata la Nel luglio 1894 il libretto di Illica venne musicale milanese Giulio Ricordi a continuare alcuni estratti della musica di Puccini decise persona adatta a comporre Tosca. Esaltato trasferito al fascoltoso Franchetti che acquistò a pagare a Puccini un modesto appannaggio che non appariva così promettente come dall’entusiasmo con il quale la sua Manon i diritti da Sardou per 25.000 lire.

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Franchetti aveva fatto un po’ di scalpore nel deciso di non metterlo in musica, si presentava Alla prima, che ebbe luogo al Teatro malefica natura i momenti prominenti del 1892, allorché, raccomandato da Verdi, aveva come ideale successore di Bohème. Passò Costanzi a Roma, il 14 gennaio 1900, Tosca baritono raramente s’incontrano nell’opera vinto una commissione dal Teatro Carlo Felice del tempo prima che Puccini iniziassea ebbe grande successo, e sei mesi dopo fu fuori del contesto dell’azione. Il primo di di Genova per un’opera su Colombo in lavorarci. presentata a Londra, e l’anno successivo a New questi è alla conclusione del Te Deum commemorazione del quattrocentesimo Una delle idee più utili – e per di più York. Da allora si è dimostrata una delle più nell’Atto I, in cui descrive, su una ripetizione anniversario della partenza del navigatore vantaggiose – che ebbe Giulio Ricordi fu durevoli delle opere di Puccini, ed ogni inesorabile nel basso, il suo desiderio di al largo dell’oceano e la sua scoperta di quella di mandare il compositore a presiedere soprano con talento drammatico è attratta dal possedere Tosca, mentre i fedeli si uniscono quello che fu rivelato essere l’emisfero alla presentazione delle sue opere nei loro personaggio come da una calamità. nel cantare un inno alla vittoria. Nell’Atto II, occidentale. primi allestimenti in importanti teatri, affinché Tre arie, due per il tenore, e l’aria del prima che Mario venga portato nella stanza Il successo che Franchetti ebbe con il suo si potesse stabilire una tradizione autentica. soprano nell’Atto II “Vissi d’arte, vissi per essere interrogato, Scarpia concisamente Cristoforo Colombo dimostrò che il suo talento E così, durante i due anni successivi, Puccini d’amore” (Life has taught me singing and elucida il suo atteggiamento, brutalmente traeva maggior vantaggio da un soggetto passò gran parte del suo tempo a presiedere loving), sono i momenti più famosi della edonistico, verso la vita e i suoi piaceri. E più spettacolare che non dall’azione drammatica alla presentazione de La bohème in diversi partitura. Esse sono fra i pezzi d’opera più in là, nell’Atto II, la sua risposta alla domanda reciproca dei personaggi. Fu lo stesso centri. Nel giugno del 1898 era a Parigi al frequentemente incisi di tutto il repertorio di Tosca di quanto costerebbe salvare la vita a Franchetti a decidere che Tosca non era un tempo in cui La bohème, tradotta in francese, lirico esistente nel mondo e s’incontrano Mario, è un breve sfogo del suo istinto soggetto adatto alle sue particolari capacità, e veniva rappresentata per la prima volta spesso come popolari bis in programmi di predatorio inserito in una linea vocale nel marzo 1895 stava discutendo con Illica la localmente all’Opéra-Comique. Mentre lui e concerti. Hanno in comune certe qualità: ascendente. possibilità di modificare il libretto. Due mesi Ricordi erano a Parigi, fecero una visita di il lirismo lussureggiante di Puccini e la sua E a proposito di Scarpia, il tema più dopo aveva definitivamente abbandonato il circostanza al sessantasettenne Sardou, e fu in espressività emotiva. Inoltre, sono eminentemente ricorrente nella partitura è progetto giacché, come spiegò in seguito, questa occasione che l’entusiasmo di Puccini relativamente brevi (nessuna di esse dura più connesso al suo carattere. Questo tema è il “Non vi sentivo la musica”. per Tosca venne definitivamente risvegliato. di tre minuti circa) giacché hanno lo scopo di primo frammento musicale che si senta: una Nel frattempo Puccini stava componendo Illica, in collaborazione con Giacosa, rifece il non intralciare l’impulso drammatico. Oltre rumorosa sequenza di accordi poco prima che La bohème (Torino, 1896) su libretto di Illica e libretto per adattarlo all’esigente senso del questi tre pezzi solistici, soprano e tenore la tela si alzi sull’Atto I. Essi riappaiono, in Giuseppe Giacosa, opera che finì per avere teatro del compositore. Puccini persino partecipano in due duetti d’amore di grande forma alterata, quando l’amante di Tosca, il persino maggior successo della Manon Lescaut. collaborò personalmente al libretto, fornendo effetto: uno nel primo atto e l’altro pittore Cavaradossi, dice al fuggiasco Angelotti Nel luglio 1895 Ricordi si apprestò a le parole per uno dei più popolari momenti nell’ultimo, poco prima della non proprio dove nascondersi da Scarpia. E più avanti, persuadere Puccini che il libretto per Tosca dell’opera, l’aria del tenore dell’Atto III finta esecuzione. nell’Atto I, quando lo stesso Scarpia entra in di Illica, ormai nuovamente in sue mani “E lucevan le stelle” (All the stars shone in Il carattere del sadistico Barone Scarpia ha chiesa, sulla traccia di Angelotti, questi dopo che Franchetti aveva definitivamente heaven). pure i suoi momenti solistici, ma vista la sua minacciosi accordi si presentano come il suo

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biglietto da visita. Dopo che egli ha esposto la Puccini adopera la musica anche per scopi In una trama così fitta di azione intensa e attivo e dà tutte le prove di volerci restare per sua natura ipocrita e lasciva durante il Te descrittivi, in modo particolarmente eloquente chiaramente motivata, c’è appena tempo per un bel po’ di tempo. Deum, l’atto si conclude con gli accordi di nel preludio all’Atto III. Non solo sentiamo un espansività lirica. Uno dei più preziosi doni di “Scarpia” che squillano minacciosamente. pastorello, fuori scena, che canta una Puccini quale compositore di opere liriche è il © 1996 William Ashbrook Al termine dell’Atto II, peraltro, quando Tosca canzonetta nel dialetto locale, ma sentiamo suo acuto senso del cosidetto “orologio teatrale”. La trama pone le candele intorno al cadavere di Scarpia, anche, in varie prospettive, campane che Egli comprese qual’era la perfetta durata di gli accordi si sentono di nuovo, ma adesso suonano, vicine e lontane, mentre sorge il qualsiasi tipo di episodio. Per esempio, la Atto I armonizzati diversamente e suonati “più piano giorno su Castel Sant’Angelo. E Puccini, repentinità con la quale veniamo scaraventati Interno della chiesa di Sant’Andrea della Valle possibile” secondo le istruzioni della partitura. nell’Atto II, fornisce musica non solo di base nell’azione all’inizio dell’Atto I è innetto Angelotti entra di fretta nella chiesa e s’infila Un altro tema che ricorre con emozionante per il discorso operistico e per l’atmosfera, ma contrasto con il preludio dell’Atto III, nella cappella privata della famiglia Attavanti. effetto è quello che appare dapprima nella anche come suoni che i personaggi sulla scena tranquillo e pieno di scampanii, in cui il passo Sua sorella, che è sposata con il Marchese sezione in mi maggiore del duetto d’amore di sentono come musica fuori scena, com’è il caso moderato dell’inizio crea un senso di ansiosa Attavanti, ha nascosto per lui la chiave della Tosca e Mario Cavaradossi nell’Atto I, che della canzonetta del pastorello. Vicino all’inizio sospensione che verrà risolta solo cappella mentre era in chiesa a pregare. Entra comincia con parole “Mia gelosa!” (Why so dell’Atto II un’orchestrina fra le quinte sta dall’improvvisa violenza dei pochi minuti il Sagrestano e si mette a sciacquare dei jealous?). Secondo una nota nel manoscritto suonando una gavotta. E poco dopo, finali. pennelli appartenenti a Cavaradossi che sta autografo di Tosca, sostanziata dal fatto che è apparentemente dagli appartamenti della Tosca è un’opera che ha avuto la sua parte terminando un dipinto della Maddalena. Il scritta su un fascicolo separato di carta da Regina in Palazzo Farnese, si sentono Tosca ed di detrattori, di critici che provano avversione pittore ha mescolato le grazie della sua amata musica, questa incantevole melodia è un coro che cantano una cantata per celebrare per il melodramma della trama. È però un Tosca con la bellezza di una donna sconosciuta apparentemente il primo pezzo di musica una vittoria che, ironicamente, più tardi risulta errore confondere l’opera con la sua storia. che ha visto in preghiera nella chiesa. Quando composto da Puccini per quest’opera. Questa essere stata una sconfitta per la regale armata. Tutte le opere sono un amalgama in cui esce il Sagrestano Angelotti emerge ed è melodia ritorna, abbondantemente sviluppata, Altri esempi di musica atmosferica sono musica e trama si sono fusi inseparabilmente. riconosciuto da Cavaradossi che chiude a come accompagnamento alla seconda uscita di nell’Atto I, ambientato nella chiesa romana di La partitura pucciniana, così finemente chiave la porta della chiesa. Angelotti spiega scena di Tosca nell’Atto I – dopo il suo Sant’Andrea della Valle. Poco prima dell’arrivo controllata, tramutai meschini personaggi di che è appena fuggito da Castel Sant’Angelo conturbante colloquio con Scarpia. Un di Mario, il Sagrestano si genuflette e recita Sardou in esseri memorabilmente espressivi, dove era stato imprigionato per ordine di accenno alla stessa appare nel preludio l’Angelus, in un tempo marcato Andante interamente umani nella loro forza e nelle loro Scarpia. dell’Atto III, e pochi minuti dopo, religioso. Alla fine di quell’atto, mentre la debolezze. Oggi non ci si potrebbe 1 Essi vengono interrotti dalla voce di Tosca direttamente al seguito di “E lucevan le stelle”, chiesa si riempe di fedeli, si canta un menomamente aspettare d’incontrare La Tosca fuori della chiesa e Angelotti ritorna nella questo tema serve da base alla musica Te Deum, mentre afesta suonano le campane di Sardou sulla scena di un teatro di prosa, ma cappella. Cavaradossi fa entrare Tosca. impetuosa che accompagna l’ingresso di Tosca. e tuona il cannone. l’opera di Puccini è un cardine del repertorio 2 Lei è turbata dal fatto che la Maddalena

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somiglia alla Marchesa Attavanti. Cavaradossi la soddisfazione di acchiappare il fuggiasco e pittore a condizione che Tosca si sottometta ai Jane Eaglen ha una reputazione formidabile spiega che l’ha vista in chiesa in preghiera ma godere i favori di Tosca. suoi desideri. nel mondo della lirica di oggi. Nata a Lincoln, che non sapeva chi era. 10 Spoletta torna con la notizia che Angelotti si ha studiato presso il Royal Northern College 3 Lui canta con Tosca un duetto d’amore. Atto II è suicidato quando lo hanno scoperto e Tosca of Music e poi presso ha cantato a l’English Quando Tosca è partita Cavaradossi e L’appartamento di Scarpia nel Palazzo Farnese acconsente a cedere alle voglie di Scarpia. Questi National Opera. Ha riscosso un successo Angelotti progettano un piano di fuga per Scarpia sta cenando da solo mentre la Regina dice a Spoletta di preparare una finta esecuzione straordinario interpretando i ruoli più diversi, quest’ultimo: a buio egli dovrà affrettarsi, Carolina tiene festa al piano di sotto. Entra come “nel caso di Palmieri”. Norma e Brünnhilde; è un soprano di risultati mascherato, alla villa di Cavaradossi e Spoletta con la notizia che la ricerca nella villa 10 – 11 Tosca insiste che egli firmi un notevoli e si è conquistata spettacolari nascondersi in un pozzo nel giardino. Si sente di Cavaradossi non ha portato frutti. salvacondotto per Cavaradossi e per lei. recensioni in tutto il mondo. Le ultime dal Castello un colpo di cannone che segnala 5 Lo hanno arrestato e portato al palazzo. Mentre egli lo sta scrivendo Tosca scorge un interpretazioni di Brünnhilde (Siegfried) per la la scoperta della fuga di Angelotti. Allo Mentre Tosca sta cantando una Cantata in coltello e lo pugnala. Lyric Opera di Chicago e il successivo Ring stesso tempo il Sagrestano entra con la (falsa) onore della Regina, Scarpia interroga completo nello stesso teatro, con Riccardo notizia della sconfitta di Napoleone a Cavaradossi alla presenza del boia e di un Atto III Muti alla Scala di Milano, a San Francisco e a Marengo. La chiesa si riempe di una folla giudice. Cavaradossi nega di sapere Uno spalto di Castel Sant’Angelo Vienna le hanno conquistato recensioni festosa e Scarpia entra, accompagnato da alcunché di Angelotti e Scarpia ordina che Si sente cantare un pastorello che guida il altrettanto positive. Le precedenti Spoletta, ordinando al Sagrestano di fare gli venga applicata la tortura nella stanza gregge. Cavaradossi chiede carta e penna per interpretazioni del ruolo di Brünnhilde preparativi per un Te Deum in onore della adiacente. scrivere una lettera d’addio a Tosca. Spoletta comprendono quelle per Opera Pacific e per la vittoria. Ingiunge ai suoi sbirri di scovare 6 – 7 Anche Tosca, quando viene interrogata, appare con Tosca e poi parte. Scottish Opera. Analogamente, le indizi sul nascondiglio di Angelotti e questi si rifiuta di rivelare il nascondiglio di Angelotti 12 Tosca mostra a Cavaradossi il salvacondotto interpretazioni di Norma al Festival di vengono presto trovati: una chiave, un fin quando, udendo i gemiti del suo amante, ed egli è racconsolato e felice. Ravenna con Riccardo Muti, per l’Opera di canestro, svuotato delle provviste che menziona il pozzo nel giardino. 13 – 14 Tosca è ansiosa che il suo amante reciti Seattle e all’Opéra Bastille di Parigi e alla Cavaradossi aveva lasciato, ed un ventaglio 8 Viene sospesa la tortura ed entra bene la sua parte quando arriva il momento Scottish Opera hanno riscosso unanimi appartente alla sorella di Angelotti, la Sciarrone con la notizia della vittoria di dell’esecuzione, ciò che egli fa con naturalezza consensi da parte della critica. Marchesa Attavanti. Napoleone a Marengo. Cavaradossi esplode giacché i moschetti sono caricati ed egli viene Tra le altre memorabili interpretazioni 4 Quando torna Tosca Scarpia usa il in un inno alla libertà e di conseguenza ucciso. È giunta notizia dell’assassinio di Scarpia operistiche vanno ricordate Isolde a Seattle, di ventaglio per accendere la sua gelosia ed essa Scarpia lo fa mettere di nuovo agli arresti ed e gli sbirri sono alla caccia di Tosca. Ella sale sui recente replicata alla Metropolitan Opera e alla accorre alla villa sperando di sorprendervi la egli viene portato via per essere fucilato bastioni del castello e si getta nel vuoto. Lyric Opera di Chicago con spettacolare coppia fedigrafa. all’alba. successo; l’esordio nel ruolo di Gioconda per Scarpia ordina che venga seguita e pregusta 9 – 10 Scarpia allora promette di far liberare il Traduzione: Marcella Barzetti la Lyric Opera di Chicago; Donna Anna (Don

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Giovanni) alla Metropolitan Opera, proposto una di arie di Strauss e Mozart, l’Ottava si è esibito in concerto con la maggior parte Vampyr di Marschner nonché ventuno in precedenza all’Opera di Vienna e a Los sinfonia di Mahler, la Nona sinfonia di delle maggiori orchestre spagnole. Ha diretto registrazioni operistiche complete con il Angeles, Monaco e Bologna; il ruolo di Beethoven, la Messa di Bruckner, Norma, la prima spagnola di Peter Grimes a Madrid e patrocinio della Peter Moores Foundation. Tra protagonista in Turandot al Covent Garden, Medea in Corinto per Opera Rara e, per nel 1996 la prima produzione spagnola di The questi vi sono numerosi dischi per l’etichetta alla Metropolitan Opera con Luciano Pavarotti, Chandos/Peter Moores Foundation, Tosca, una Rake’s Progress. È apparso in Germania, Svezia, Opera Rara che hanno vinti parecchi premi, a Vienna, Madrid, Seattle, Bologna e all’Opéra registrazione premiata, oltre a dischi di Paesi Bassi, al Festival di Pesaro in Italia, al tra cui il belga Prix Cecilia per la Rosmonda Bastille di Parigi; Amelia (Un ballo in maschera) Turandot e Aida. La voce del soprano compare Festival Internazionale di Hong Kong, in d’Inghilterra di Donizetti. Per Chandos ha a Bologna e al teatro Bastille; il ruolo di inoltre nella colonna sonora di Ragione e Giappone con una tournée della Carmen e in diretto sette registrazioni di arie d’opera (con protagonista in Tosca per la English National sentimento, adattamento cinematografico del Messico con la UNAM Symphony Orchestra. Bruce Ford, Diana Montague, Dennis O’Neill, Opera, al Teatro Colón di Buenos Aires, e in romanzo di Jane Austen. Recenti nuove produzioni da lui dirette Alastair Miles, Yvonne Kenny, John Tomlinson concerto con la Cleveland Symphony comprendono il Fidelio al Festival della e Della Jones, nonché Faust, Don Pasquale, Orchestra; il ruolo di protagonista in Ariadne David Parry ha studiato con Sergiu Nuova Zelanda, Maria Stuarda al Teatro di L’elisir d’amore, La bohème, Cavalleria auf Naxos per la English National Opera. Celibidache ed ha cominciato la sua carriera Basilea e Lucia di Lammermoor alla New Israeli rusticana, Pagliacci, Tosca (vincitrice di un Jane Eaglen si trova altrettanto a proprio come assistente di Sir John Pritchard. Ha Opera. premio) e brani scelti da Der Rosenkavalier, agio nelle sale da concerto; i suoi ultimi debuttato all’English Music Theatre, quindi è Il suo lavoro in studio di registrazione tutte in collaborazione con la Peter Moores impegni hanno incluso il Requiem di Verdi diventato direttore d’orchestra presso la comprende la produzione della BBC di Der Foundation. con Sir Simon Rattle e la City of Birmingham Städtische Bühnen Dortmund e la Opera Symphony Orchestra; l’Ottava sinfonia di North. È stato Direttore Musicale di Opera 80 Mahler con Klaus Tennstedt; il Terzo atto di dal 1983 al 1987 e dal 1992 è stato Direttore Götterdämmerung con Bernard Haitink e la Musicale fondatore dell’Opera di Almeida. Boston Symphony Orchestra; Nabucco a Lavora copiosamente in opere e concerti, a Ravenna con Riccardo Muti; i Gurrelieder con livello nazionale ed internazionale. Ha diretto Claudio Abbado ai festival di Salisburgo e di diverse produzioni presso la English National Edimburgo; Norma in concerto al Tivoli Opera e appare regolarmente con la Festival di Copenhagen e al Carnegie Hall; e i Philharmonia Orchestra. Nel 1996 ha Quattro ultimi canti di Strauss con Daniel debuttato con Così fan tutte al Glyndebourne Barenboim e la Chicago Symphony Orchestra. Festival, dove nel 1998 ha diretto la prima La discografia di Jane Eaglen comprende mondiale di Flight di Jonathan Dove. una registrazione di arie di Wagner e Bellini, È un frequente visitatore della Spagna dove

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from Act I Tosca Tosca (taken aback by his cold tone) Tosca You swear it? Say it again! See how Tosca is all on fire with love! Tosca (from outside, pettishly) 1 Mario! Mario! Mario! Cavaradossi Cavaradossi Cavaradossi Happy! My beloved, I’m yours! Cavaradossi (Affecting calm, he opens the door to I swear I love you! Tosca (angry) Tosca.) Tosca (reproaching him mildly) I don’t believe you. I don’t believe you. Tosca (resting her head on Cavaradossi’s shoulder; I’m here. Oh! In front of the Madonna… 2 Our little house in the country is waiting, almost immediately he moves away a little, looking over to where Angelotti disappeared) (Tosca bursts in, pushes aside Mario who wants to No, Mario, no, let me the shady garden forever inviting. Oh, my darling! embrace her and looks around suspiciously.) pray for a moment, give my flowers. No one has seen our pretty olive grove, (She slowly approaches the Madonna and arranges place of secrets and of love. Tosca Cavaradossi the flowers she has brought with her around the We shall hear in the stillness, Now you must let me finish. Why was it locked? statue. She kneels and prays devoutly, then crosses through the starlit spaces Cavaradossi herself and rises. She speaks to Cavaradossi who the murmurs of the night Tosca The Sacristan insisted… meanwhile has started to resume his work.) with all its delicate voices! I don’t want to. Mario, listen to me… tonight I’m singing, From all the woods and meadows, Tosca but I finish quite early. Come around to my from fruitful vineyards, from towers, Cavaradossi I heard you talking… dressing room and meet me, from tombs of vanished glory, It’s important, you know! we’ll drive down to your villa, we’ll be alone Cavaradossi all scented with flowers, Tosca (annoyed, rising) there. To you! the whispers of the night go out I’m going, I’m going! from one to another Cavaradossi (inattentive) (She moves away from Cavaradossi and, turning to Tosca and often promise falsely This evening? look at him, she sees the painting and rushes back To someone else; I heard you whisper. vows that melt ev’ry lover. She’s here. to Cavaradossi highly agitated.) Tosca Oh, blossom all you meadows, But who is that golden vision up there? Cavaradossi The moon is full, all you fresh sea breezes, caress me, Who? the heavy scent of flowers shine on us sweetly, silver moon above. Cavaradossi fills the air and charms the heart. Ah, you starry vaults of night, let passion rain Oh, just a model. You like her? Tosca Don’t you feel happy? down. Don’t lie. It’s a woman! I heard Tosca burns with ardent love! Tosca her rapid steps and the rustle of her clothing… (She sits on the steps near Cavaradossi.) She’s too attractive! Cavaradossi Cavaradossi Cavaradossi (absent-mindedly) Ah, you bind me with your fetters, Cavaradossi (laughing and bowing) Nonsense! Happy! my beloved. You praise me highly.

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Tosca (suspicious) Tosca Tosca (in ecstasy, leaning her head on Cavaradossi’s come console me… Do I? Swear it. shoulder) Tell me, tell me! I’ve seen those pale blue eyes before, I’ll swear it… Oh, how you understand me; Cavaradossi How you can make me love you! Cavaradossi Cavaradossi (with indifference) I swear it. (maliciously) My dearest love, Oh, you must have seen many! Tosca (her eyes still fixed on the picture) But make the eyes look darker! my Floria Tosca, Tosca (trying to remember) I shall always love you. See how she stares intently! Cavaradossi I know her! I know her… Ah! Don’t be jealous Why so jealous? It’s Attavanti! Cavaradossi for my love is all for you! Come on now! Tosca Cavaradossi (laughing) Tosca (freeing herself from Cavaradossi) Yes, I know it, Brava! Tosca Oh! What are you doing? She laughs at me and mocks me. I torment you night and morning. My hair is all untidy. Tosca (blind with jealousy) Cavaradossi You know her? Love her? Cavaradossi Why so jealous? Cavaradossi She loves you? You love her? What nonsense! Now go, I must work! Tosca Cavaradossi (attempts to calm her) (Cavaradossi pushes her gently down the steps. She But I’m certain you’d forgive me. Tosca I never met her. descends backwards always looking at the picture Well, stay till this evening and holding her hands high in Cavaradossi’s Cavaradossi Tosca (not listening to him, furious with jealousy) and finish the picture. Make me a promise; hands.) Why so jealous? Those whispers, those rustling footsteps… you’ll talk to no women, not golden-haired nor dark-haired, Ah, just now she was with you! Tosca (reproaching him mildly) Tosca no matter where they pray. Ah! those eyes! Yes, I’m certain you’ll forgive me, Cavaradossi if you knew all the pain of my love! Promise me, Mario. Please, listen. Cavaradossi (he holds Tosca close to himself Cavaradossi affectionately, gazing at her) Cavaradossi Tosca My Tosca, dearest Goddess, 3 What eyes in all the wide world can equal My love, I promise! Go! Ah, what a harlot! I adore your ev’ry passion; those dark fiery eyes of my Tosca? You’re false to me! wild fits of anger or the ecstasy of love! Tosca In them I find myself. My life and being Why all this hurry? Cavaradossi (serious) are only for Tosca. Tosca She comes here daily, kneels to the Madonna, Eyes that in love are tender, then blaze with anger. Yes, you would forgive me Cavaradossi (with mild reproach, aware of her prays with deep devotion, What eyes can ever be found to equal if you knew all the pain of my love! jealousy) she never even saw me. the dark eyes of Tosca? Tell me how you love me truly, Not trust me?

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Tosca (falling into his arms and offering him her imperious sign to the Sacristan to stay put. The grace it with your fingers; Tosca (losing her temper) cheek) Sacristan, trembling, embarrassed, approaches the now don’t misunderstand me, What? Of lovers? Yes, forgive me! painter’s scaffolding.) I only want to offer holy water. But prove it! But prove it! Tosca? She must not see me. Cavaradossi (smiling) Tosca (touches Scarpia’s fingers and crosses herself) Scarpia (showing her the fan) (With a handkerchief Iago Before the Holy Virgin? Thank you, Signor. A useful thing to have for painting. drove a jealous lover to utter madness. Tosca I’ll use a fan!) (Gradually people enter the church and go up the Tosca (seizes it) She understands me! principal nave, Parishioners, Bourgeois, Peasants, For painting? But where was it? Tosca (returns to the scaffolding, calling (They kiss. Tosca, moving to go, looks at the picture Locals, Soldiers, Shepherds, Beggars, etc: then a impatiently in a loud voice) Scarpia again.) Cardinal with the Chapter proceeds to the main Mario?! Mario?! There, by the canvas. (maliciously) altar; the congregation, turning towards the main Something must have startled But make the eyes look darker! Sacristan (approaching Tosca) altar, crowd together in the principal nave.) our naughty love bird, Do you mean Cavaradossi? (Tosca runs off quickly. Cavaradossi remains moved Scarpia and as she flew away Who knows where he’s gone? and pensive, listening for her steps to die away, Your lead is the one we follow. she lost her feathers! As if by magic then carefully he opens the door and looks outside. With heaven’s grace and its sweet inspiration, he’s completely disappeared. Tosca (examining the fan) Seeing all clear, he runs to the Chapel. Angelotti you revive human faith in God our Saviour The coronet! The crest! appears at once from behind the gate. Cavaradossi (He sneaks away.) through the pow’r of your singing! The Attavanti! The one I suspected… opens the gate for Angelotti and they shake hands Tosca Tosca (abstracted and pensive) affectionately.) Has he tricked me? No… no… Kindly spoken. Scarpia He won’t betray our love, Scarpia (So my plan is effective!) ***** he won’t betray our love! It is rare that a woman, Tosca (With great feeling, holding back tears with and in such a profession, Scarpia (to himself ) (Scarpia turns round the column and presents difficulty, she is oblivious of the place and Scarpia.) 4 should come to church at all to kneel in prayer. (Ah, that explains it. himself to Tosca, who is surprised by his sudden I came here full of sorrow So the Sacristan’s provisions appearance. He dips his fingers into the stoup and Tosca (surprised) just to tell him: when evening falls fed the hungry Angelotti!) offers her the holy water; outside, the church bells I don’t follow. we cannot be together. (Tosca enters, greatly excited: she goes straight to the are ringing inviting people to church.) Tonight the lovesick Tosca is a captive! scaffolding, but, not finding Cavaradossi there, still Scarpia Scarpia very agitated, goes in search of him down the Scarpia (insinuating and courteous) To another who may look like an angel, (Now my poison bites deeper.) central nave of the church. Scarpia, having seen Tosca, dear angel, (He points at the portrait.) Tosca enter, has swiftly hidden himself behind the if you’ll allow, visiting a church may have as a motive Tosca column with the stoup of holy water, making an my hand awaits you, just a meeting of lovers! At the gala this evening I’m a prisoner!

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Scarpia Scarpia (shocked, as if reproaching her) Spoletta (pointing to the antechamber) Tosca (Poison, bite even deeper.) In church! He is there. A te quest’inno di gloria voli a te. (in dulcet tones) Or voli quest’uman inno di gloria a te. Tosca Scarpia (An idea strikes him and immediately he Someone has made you deeply unhappy. God will forgive me… says to Spoletta:) Choir Why are these tears of bitterness falling For he sees how I’m weeping… Now you may bring the prisoner in. Questo canto voli a te. over your lovely delicate features? (Spoletta exits.) Quest’inno di gloria a voli a te. Fairest of ladies, what has upset you? (Tosca leaves greatly agitated: Scarpia accompanies (to Sciarrone) Sommo Iddio della vittoria her, feigning reassurance. As soon as Tosca has left, Tosca We’ll need Roberti, che fosti innanzi ai secoli, the church gradually fills up with people. Scarpia Nothing! and see the judge is ready. alle cantiche degli angeli. returns to the column and makes a sign. Spoletta Scarpia (insinuating) appears at once.) (Sciarrone exits. Scarpia sits at the table again. Tosca I’d give my life Spoletta and three Guards bring in Cavaradossi, Sale, ascende l’uman cantico to be able to console you. ***** then Roberti the torturer, the Judge.) varca spazi, varca celi. A te o re dei re! Tosca (not listening to him) from Act II Cavaradossi (proud, advancing impetuously) I stand here weeping while in another’s arms You insult me. Choir Spoletta Sale, ascende l’uman cantico he makes a joke of my feelings. 5 It seemed wise to arrest him… Scarpia (with affected courtesy) varca spazi, varca celi. Scarpia Scarpia (with a sigh of satisfaction) Cavalier, please take a chair, I beg you. A te giunge, o re dei re! (Poison, bite deeper.) That sounds better! Cavaradossi Cavaradossi (Hearing Tosca’s voice, he exclaims with emotion:) Tosca (very bitterly) (Scarpia paces up and down in thought. He stops Tell my why. Where are they? That is Tosca! suddenly – from the open window can be heard the Scarpia (pointing to a seat on the opposite side of If only I could surprise and catch them. Scarpia (who had broken off to hear Tosca, continues) Cantata performed by the Choir in the Queen’s the table) (even more worried ) I’m sure you must have heard room. So Tosca has returned – she is there – Be seated. Oh, what a suspicion. beneath him.) of someone escaping from Castel Sant’Angelo. The villa gave refuge to two pairs of lovers. Cavaradossi (refusing) Cavaradossi He’s unfaithful… He’s unfaithful… Choir I’m waiting. My pretty nest is defiled and degraded! Sale, ascende l’uman cantico, I heard nothing. (decisively) varca spazi, varca celi Scarpia Scarpia I’ll go there now and catch them! per ignoti soli empirei I see! Yet somebody claimed it was you (She turns threateningly to the painting.) profetati dai Vangeli, (He stares at Cavaradossi before questioning him.) who assisted him in Sant’Andrea, You shall not have my Mario, I swear it. a te giunge o re dei re! You’ve heard of the escape from… providing him with food and with clothing…

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Cavaradossi (resolute) (threatening) all this defiant obstinacy will not help you. First the normal procedure… That’s nonsense! Be careful! A prompt confession later… I’ll give orders. Scarpia (continuing to remain calm) I warn you! I want answers! saves you from intolerable pain. (Sciarrone opens the door. The Judge enters and the Let me advise you; answer; others follow him, leaving Tosca and Scarpia. …and that later you took him Tosca and Choir tell me, where is he hiding? Spoletta withdraws to the door at the back of the to your house outside the city… A te giunge, o re dei re! room. Sciarrone closes the door. Tosca acts surprised: Cavaradossi (Irritated and disturbed by the singing, Scarpia Cavaradossi Scarpia, with affected politeness, reassures her.) I don’t know. Never. Now prove it. goes to close the window.) 6 Now you and I can talk Scarpia (sweetly) Scarpia like friends together. Scarpia (imperious, to Cavaradossi) There’s no need to look so frightened. I have a faithful witness. Where’s Angelotti? I ask you for the last time. Say where! Tosca (sits, with studied calm) Cavaradossi Cavaradossi Cavaradossi I’m perfectly at ease… The facts, man! Can you prove it? I don’t know. I don’t know. My house was ransacked but your spies found Spoletta nothing. Scarpia (Scarpia passes behind the sofa where Tosca is You gave him a basket of provisions? Good, he’s in for a whipping. sitting and leans against it.) Scarpia (Tosca enters gasping: she sees Cavaradossi and runs Clearly he’s been well hidden. Cavaradossi Scarpia Never! to embrace him.) The fan is quite forgotten? Tosca and Choir Scarpia (seeing Tosca) Sale, ascende l’uman cantico Scarpia Tosca (feigning indifference) (Here she is!) varca spazi, varca celi. And clothing? So stupid to be jealous. Tosca Cavaradossi Cavaradossi Scarpia Mario, you here?! Your spies are mistaken! Never! The Attavanti was not installed at the villa? Cavaradossi (softly to Tosca who indicates she has Spoletta (Offended, he breaks in.) Scarpia Tosca understood ) All the time we were searching, And refuge in your villa, No: no one was with him. No word of what you saw today or they’ll kill me! he laughed and mocked us… and that’s where he’s hiding? Scarpia Scarpia Cavaradossi Cavaradossi (forcefully) Mario Cavaradossi, the judge is waiting; No one? You’re absolutely certain? Of course I laughed, I’m laughing still. Never! Never! you must now bear witness. Tosca Scarpia (Terrifying, he rises.) Scarpia (astutely, appearing calm again) (He signals Sciarrone to open the door leading into I’m so easily jealous. You’ll find tears more appropriate! Now, Cavaliere, do consider; the torture chamber, then turning to Roberti:) No one! No one!

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(Scarpia takes a chair, puts it in front of Tosca, sits Tosca (surprised) Scarpia (turning and going up to the door) Tosca (encouraged) down and stares at her.) Of horrible suffering? What d’you mean? Sciarrone, release him. I know nothing. What’s happening inside there? Scarpia Sciarrone (appearing at the door) Scarpia Indeed?! Scarpia Completely? That sample did not move you? The law must be maintained to the letter. (moves to approach the door) Tosca (very annoyed ) Scarpia Roberti, we’ll continue. No one there! Tosca Completely. Oh! God! But tell me what you mean… (Sciarrone returns to the torture chamber, closing Tosca Scarpia the door.) No! You mustn’t. So much passion? Is there something Scarpia And now I want the truth… Scarpia you’re frightened of betraying? (with an expression of ferocity and with increasing Then will you answer? (turning towards the door of the torture chamber, force) Tosca calling:) His hands and feet are tied Let me see him!… Tosca Sciarrone: what says our noble friend? and there’s a ring of iron with spikes around his No! No! You monster… temples. Scarpia I hate you. You monster, Sciarrone (appears round the edge of the door) At each denial they tighten further No! you’ll kill him, you’ll kill him… Nothing. tearing his flesh. (Gradually Tosca succeeds in drawing near to the Ah, you’ll kill him! Scarpia (louder) Tosca (jumping to her feet) door.) Scarpia Then persuade him. Is it true? Is it true? But you are the one who will kill him, Tosca You poisonous murderer… by your silence. (Sciarrone re-enters, closing the door.) Mario! (She listens with great anxiety, her hands nervously (He laughs.) Tosca (laughing) clutching the back of the sofa.) Cavaradossi (within, painfully) Oh! It’s useless! Tosca! Tosca Cavaradossi (a prolonged cry) You’re laughing, deriding my torment. Scarpia Tosca Ah… Scarpia (with cruel irony) (Gravely: he rises and walks around.) Are they hurting you still? On stage you were never more tragic than this. We shall see, my dear lady. Tosca They’re killing him. Oh God… Oh God… Cavaradossi (Tosca, horrified, moves away from Scarpia who Tosca No. Have courage. with sudden ferocity turns to Spoletta, shouting:) Clearly, if he’s to please you, he had better tell lies? Scarpia Say nothing, nothing. Throw open the door. But you could save him. Scarpia I scorn the pain. Let her hear how he suffers. Only the truth can assist him Tosca Scarpia (approaching Tosca) (Spoletta opens the door and stands upright on the to shorten hours of horrible suffering. I will… You must stop them this minute. 7 Enough. Tosca, your answer. threshold.)

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Cavaradossi (from within) Tosca returns while Tosca, overcome by emotion, falls on Tosca I defy you! Ah! ah! ah! I can’t bear it! the sofa and in a sobbing voice turns to Scarpia, Yes! Ah! What horror! who stands by impassively and silently.) Scarpia (shouting to Roberti) Ah! This torture must stop. Scarpia (loud, towards the torture chamber) Tosca Still tighter! Still tighter! It’s more than I can bear, Enough, Roberti. I have never done you harm. more than I can bear, Cavaradossi (from within) So how can you inflict all this torture on my Sciarrone (appearing at the door) more than I can bear! I defy you! spirit, He has fainted! Cavaradossi (a loud moan) yes, my spirit. Scarpia (to Tosca) Ah! Tosca (to Scarpia) Your answer. Spoletta You assassin! (Tosca turns imploringly to Scarpia who motions to Judex ergo cum sedebit I want to see him… Tosca Spoletta to allow Tosca to approach: she goes up quidquid latet apparebit. Scarpia (to Sciarrone) I cannot. close to the door and, aghast at what she sees, turns Nil in ultum remanebit. to Cavaradossi.) Go, bring him in here! Scarpia Tosca Come on now! Tosca (in anguish) Why do you torture my spirit? (Sciarrone appears followed immediately by Guards Mario… allow me who carry the unconscious Cavaradossi and place Tosca to tell him? Spoletta him on the sofa. Tosca rushes over to him but the Ah! I know nothing! Nil in ultum remanebit. ghastly sight of her lover covered in blood is too (desperate) Cavaradossi No! No! (Scarpia, making the most of Tosca’s despair, goes to much for her and she covers her face in horror – Do I have to lie? the torture chamber and signals for the torture to then, ashamed of her weakness, she kneels by him, Tosca Scarpia start again.) kissing him and crying. Sciarrone, the Judge, I cannot bear any more… Say, where is Angelotti? Roberti and the Scribe exit at the back, whilst, at a Cavaradossi (a heart-rending scream, intense and sign from Scarpia, Spoletta and the Guards Cavaradossi prolonged ) Tosca Nonsense. Tell what? remain.) No! No! Ah! You don’t know… Cavaradossi (reviving) (At Cavaradossi’s cry, Tosca jumps up and Scarpia 8 Floria! Scarpia immediately whispers to Scarpia.) Say, where is Angelotti? (Annoyed by Cavaradossi’s words and fearing that Tosca Speak up, tell me truly, Tosca will be heartened to keep silent, he bellows to Tosca My darling… don’t lie to me again. Spoletta.) The well in the garden… Where is he hiding? Roberti, shut him up! Scarpia Cavaradossi Say where! (Spoletta enters the torture chamber but soon We’ll find Angelotti? My love…

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Tosca Scarpia (surprised) Tosca (desperate, clinging to Cavaradossi Tosca How you have suffered, my dearest love! Tell me quickly what has happened? attempting to calm him) Oh, pardon him! But God will punish this cruel fiend! Mario, quiet, be calm, I pray! Mario… with you… Sciarrone Cavaradossi All our forces are defeated… Cavaradossi Scarpia Tosca, did you tell them? Do you see me take pride You’re dead already! Scarpia in the torture you tried… Tosca Tosca All defeated? How? Where? while your blood runs cold, No, no! No, my love… oh, Scarpia, you murderer! Sciarrone Cavaradossi Scarpia At Marengo… Scarpia (smiles sarcastically) Go, go! You promise? You’re blustering, shouting, Scarpia (impatient, shouting) go on then, reveal the depths of infamy Tosca Tosca Spit it out man! No! in your nature. Ah! Mario, Mario! You’re dead already, …with you… with you! Sciarrone Scarpia (vehemently, to Spoletta) for the hangman’s noose awaits you! Bonaparte has beaten us… (seeking to force her way but obstructed by Scarpia) Hidden in the garden well, Tosca run, Spoletta! Scarpia Scarpia (pushing Tosca back and closing the door) Be calm! Mario! Melas… Not you! (Spoletta exits.) (to Scarpia) Sciarrone Pay no attention! Tosca (with a groan) Cavaradossi (rises inveighing against Tosca) No! Melas retreated! Be kind, be kind! Oh, save his life! You’ve betrayed me!… Scarpia (Cavaradossi, hearing Sciarrone’s words with Cavaradossi I?… You! Tosca (beseeching) increasing anxiety, finds the strength in his You murderer! You murderer! (He goes back to the table, sees his meal only half- Mario! enthusiasm to get up and face Scarpia Scarpia finished and, smiling, recovers his calm.) threateningly.) Cavaradossi (lets himself fall, breathless) Get out! My supper has been rudely interrupted. I reject you! Cavaradossi Tosca (seeing Tosca, downhearted, motionless, still beside Tosca Victorious! Victorious! Oh, pardon him! Mario!… with you… with you! the door) Mario! God of vengeance appear, Why so dejected? fill the wicked with fear! Scarpia (Irritated by Cavaradossi’s words, he orders Come, my lovely young lady, come and sit down. Sciarrone (breaking in, breathless) Surge up, Liberty, the Guards.) Together we may find a way of rescuing your lover. I have dreadful news to tell you! crushing all tyranny! I want him out of here! Now then…

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(He sits down, inviting Tosca at the same time to The moment I have prayed for! (The idea occurs to her to go to the Queen and she Scarpia (tries to seize her) do likewise.) How I have ached with love for the diva! runs towards the door. Scarpia, who guesses her Tosca! be seated… let’s talk a little. But tonight my eyes were opened: thought, draws to one side.) Tosca (takes refuge behind the table) (He cleans a glass with a napkin, then looks at it (He gets up, very excited.) Scarpia Viper! through the light of the candelabra.) I saw you as a woman! I won’t restrain you by force. We’ll have some wine first, a fine Rioja. All your tears were like lava, scalding my senses, You’re free to go, I mean it. Scarpia (pursuing Tosca) (pouring, with courtesy) and the hatred darting out of your dark eyes (With a cry of joy Tosca moves to leave: Scarpia Tosca! A little, it would refesh you. increased my hungry craving! with a gesture detains her, laughing ironically.) With the grace of a leopard Tosca (Tosca sits down opposite Scarpia staring at him, But your hopes are misguided. you enfolded your lover. Ah, help me! then, resting her elbows on the table with her hands Royal pardons are seldom granted to a dead man. Ah! I vowed that you would be completely mine. supporting her face and in a tone of the most (Tosca retreats in horror and, staring at Scarpia, Scarpia (loudly) profound contempt, she asks Scarpia:) (Scarpia moves towards Tosca, extending his arms: she falls onto the sofa: then in a gesture of supreme You’re mine! Tosca, having listened motionless and petrified to contempt and hatred she looks away from him.) Tosca Scarpia’s lustful sentiments, rises abruptly and takes (in a convinced tone and with satisfaction) Tosca 9 How much? refuge behind the sofa.) How you must hate me! Ah, help me! Scarpia (impassive, pouring himself a drink) Tosca Tosca Scarpia (shouting) How much? Ah! Oh, God! You’re mine! Tosca Scarpia Scarpia (approaching her) Tosca Your price! You’ll be mine! And that is how I want you! Ah, help me! Tosca Scarpia (He laughs.) Tosca (with disgust) (They stop at the sound of a distant drumroll.) Ah, they say I’m corrupt Ah! Do not touch me, you demon! but a lovely woman cannot tempt me Scarpia (almost running after her) I hate you, hate you, hate you, Scarpia with common bribes of money… You’ll be mine! despise you, loathe you! Listen! There’s the drum beat. No!… No!… Tosca (horrified, runs to the window pointing to it) (She avoids Scarpia in horror.) They’re starting. They will escort (insinuating) Ah! I’d rather swallow poison. Scarpia (drawing still closer to her) the prisoners to the gallows. A lovely woman can never tempt me Does it matter? And time is passing! See! with common bribes of money. Scarpia (coldly) Throbbing with anger… throbbing with desire! (Having listened with great anxiety, Tosca draws When I betray my oath of office and trust, Your Mario still remains my prisoner! away from the window and leans on the sofa, I’ll ask some other payment; Tosca Tosca exhausted.) I’ll ask a far sweeter payment. Ah, I despise and hate this horrible bargain! Viper! Work is going forward down there already.

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Listen! You’ll soon hear the firing squad. Hear me… Mercy. Your answer? Spoletta For your Mario, one hour is left, All I ask is a single word of pity. (Tosca nods in agreement and, weeping out of An execution… and you have the power to save him. shame, buries her head in the cushions on the sofa.) Scarpia Scarpia (suddenly, with clear deliberation) (to Spoletta) (Tosca, overcome with grief, falls back onto the sofa. Your mystifying beauty, your loving nature, …but a fake one as we did with Count Palmieri! Listen. Unmoved, Scarpia goes and leans on a corner of the I yield. The price is so meagre. You understand me? table, pours himself some coffee and drinks it whilst You gain a whole life, I the merest fleeting Tosca (immediately interrupting Scarpia) Spoletta he continues to look at Tosca.) instant. But give the word to free him this instant! I understand you. Tosca (with great sorrow) Tosca (rising, contemptuously) Scarpia (to Tosca) Scarpia 10 Life has taught me singing and loving. No, no! We have to move with care. Go. I never did harm to one living creature. How you disgust me! No, no! I can’t be seen to release him. Tosca Often in secret The world must believe I want to tell him myself. I offered help to the poor and the needy. (Knocking is heard at the door.) that Cavaradossi has been shot. Scarpia Daily I pray sincerely. (He points to Spoletta.) Scarpia You shall. My prayers Who’s there? This faithful man will arrange it all. ascend from so many holy churches in Rome… (to Spoletta) And every day my flowers grace the altar of God. Spoletta (entering hurriedly and all out of breath) Tosca He will arrange it. But now when I am suffering, Your Lordship, Angelotti took his life on our How can I trust you? Mind now; as dawn is breaking… do you, dear Lord, reject me? arrival. Scarpia Spoletta Ah, why do you reward your servant so? I’ll give him his orders Yes. Just like Palmieri… Scarpia (to Spoletta) I gave my jewels for the Madonna’s mantle, here in your presence. So then, let them hang his corpse on the gallows! (Spoletta leaves. Scarpia stands by the door, listens I gave my singing (to Spoletta) And what about his friend? to Spoletta’s footsteps, then, changing his expression to glorify the Angels of Heaven, Spoletta, close it. and gestures, approaches Tosca passionately.) yet now in my distress, Spoletta (Spoletta quickly goes to close the door, then returns Scarpia ah, why, ah, why, dear Lord, The Cavalier Cavaradossi? near Scarpia.) I’ve done as you commanded. ah, why do you reward me so, dear Lord? Everything’s ready, your lordship. (stares meaningfully at Spoletta who nods repeatedly to show that he understands Scarpia’s intentions) Tosca (stopping him) Scarpia Tosca I have changed my decision. Just one moment. Your answer? (Heaven help me!) I want the prisoner to be shot. You must give me a safe-conduct Tosca (kneels before Scarpia) Scarpia (to Spoletta) (Tosca jumps up, terrified.) so that I can leave the country with him. On my knees must I implore you? Don’t go yet. Now mark me, Scarpia (with courtesy) Mercy… See, I stretch out my hands to beg you! (softly to Tosca) just as we did in the case of Palmieri… Do you intend to leave us?

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Tosca Tosca Tosca She lifts his arm and then lets it fall, inert, rigid, Yes, for ever! That was the kiss of Tosca! I repaid all your torture! having removed from it the paper, which she hides in her breast. She stops to look at Scarpia’s body.) Scarpia Scarpia Scarpia (growing weaker) And this is the man who terrorised the whole of Then may your wish be granted. Ah, help me, murder! Oh, help me! Murder! Rome. (He goes over to his desk and begins to write, (Staggering, he tries to grab hold of Tosca who (He makes a final effort, then slumps backwards.) stopping to ask Tosca:) draws back, terrified.) (She extinguishes the candelabra above the table 11 Which route have you chosen? Ah, help me! Murder! Ah! Tosca and is about to leave, but changes her mind and, Can you still hear me? Tell me! seeing a lit candle on the desk, she takes it and Tosca (Tosca finding herself caught between Scarpia and Look at me! I am Tosca! Oh, Scarpia! lights the other candle. She places the candles on The shortest! the table and realising that he is about to touch her, Scarpia either side of Scarpia’s head. She looks around repels him in horror. Scarpia falls, screaming and again and, noticing a crucifix, she unhooks it from Scarpia choking in his own blood.) Oh, help me, I’m dying! Civitavecchia? the wall and, carrying it devoutly, kneels to place it Tosca (with hatred ) Tosca on Scarpia’s chest; then she gets up and with great Tosca Your blood foams and chokes you. Does your blood choke you? caution departs; closing the door behind her.) Yes. Scarpia Scarpia (gasping for breath) End of Act II (While Scarpia is writing, Tosca goes over to the Oh, help me! Murder! table and with trembling hand takes the glass of ***** Tosca Tosca (bending over Scarpia’s face) wine, filled by Scarpia, but just as she lifts it to her from Act III Your blood foams and chokes you. Die and be damned. mouth she notices a sharp pointed knife on the Die! Die! Die! Scarpia (struggles in vain and tries to get up Cavaradossi table; she glances briefly at Scarpia who is still 12 Ah! Safe-conduct for Floria Tosca… writing, and with infinite care attempts to grasp clinging to the sofa) Scarpia (remaining rigid ) the knife, which she then hides behind her back, Oh, help me! Ah! Tosca and Cavaradossi …and for the man who is her companion. leaning on the table and still eyeing Scarpia. Tosca Tosca Having finished writing the permit, he seals it, and Ah! It’s over! Now I forgive him! Tosca folds it: then, opening his arms, he goes over to You’re free to go! Scarpia (Without taking her eyes off Scarpia’s body, Tosca Tosca to embrace her.) Murder! Murder! goes to the table, takes a bottle of water and Cavaradossi (looks at the paper and reads the Scarpia moistening a napkin she washes her fingers, then signature on it) Tosca Tosca, now at last you’re mine! she tidies her hair, looking at herself in the mirror. Scarpia! The blow struck by a woman! (But his voluptuous tone suddenly changes into a She remembers the permit, searches for it on the Kindness from Scarpia? terrible cry as Tosca stabs him fully in the chest.) Scarpia desk but doesn’t find it; she looks for it again, (looking at Tosca intently) God in heaven! Please, help me! finally she sees it in the clasped hand of Scarpia. His first act of true compassion…

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Tosca (takes the permit and replaces it in her bag) oh, hands intended for compassion and goodness, Smell the scent of roses? When they fire I will fall down, His final one! and made to care for children and gather roses, See how every living thing utterly lifeless. and join in prayer for those in trouble! awaits the sunrise as if it were a lover! Cavaradossi But those hands fashioned by the God of loving Tosca (insistant) His final one? were chosen by the sacred goddess of justice. Cavaradossi (with more tender feeling) But do be careful, try to fall correctly! Tosca His death was your deed, oh, hands of retribution, I minded death because I had to leave you, In the theatre we learn it, He demanded my love for your life. oh, hands of mercy, innocent and loving! for you’re the soul of everything I live for; I should know how to do it. My tears and my pleas were useless. my deepest hope, my joy and tender longing… Tosca (snatching her hands away) Cavaradossi (interrupting her and drawing her I turned, frantic with fear, centre on you, for you alone inspire me. Listen… dawn is approaching. close) to the Madonna, but she would not hear me. The flashing storms and paling skies of heaven (showing him the bag) Tell me again of our journey together; Then the monster informed me: take form and colour when you are beside me, I gathered all my money and jewels… your voice is sweeter than the lark at morning! now the gallows raise and all the glorious beauties of nature and then we’ll be together… their hideous arms to heaven! touch my heart when you love and desire me. Tosca (lets herself go as if in ecstasy, then becoming But first – and now you will laugh – The drums began their rolling. more and more excited ) first they are going to shoot you, Tosca He laughed at me, the monster, and gloated, United in our exile their rifles will have blank cartridges… Oh love, that knew the way to win your freedom, sharpened his claws to pounce on his prey! we shall create a world of love around us Just a sham execution. you be our guide on land, our pilot at sea! ‘You’re mine now!’ Yes, with a glory of colour… They fire, you fall. We’ll follow where the voice of love is calling. ready to die with shame, I promised. Then the soldiers will leave us… We’ll be alone, the two of us together, Tosca and Cavaradossi And then my eye was caught by a knife blade. and then to freedom, ah, then to freedom. floating away, like clouds as sunset is falling… …with a glory of music by night and day… He wrote the order that set us free, Off to Civitavecchia… we’ll take a boat there… and then we’ll find a paradise for ever, World of love, shining with hope and so certain I’d surrender. put out to sea! paradise for ever, paradise for ever! flaming with passion, ever increasing holy fire… Deep in his heart I drove the shining blade. (They remain impassioned, silent, then Tosca, We feel your glorious joy… Cavaradossi bringing them back to reality looks around We hear in our hearts music of sweet desire! Cavaradossi Liberty! You? With this hand you destroyed him, intently.) What is keeping them? Tosca for my sake, and you so good and kind! Tosca I’ll press upon your eyes a thousand kisses Liberty! (to Cavaradossi with great affection) Tosca Mind now! and tell you how I love no one but you. Blood from his heart was all over my hands. Cavaradossi You have to fall at the moment (Meanwhile a party of Soldiers mounts the stairs: Out to sea! you hear the soldiers firing. an Officer marshals the Soldiers at the rear; Cavaradossi (taking Tosca’s hands between his own Spoletta, the Sergeant and the Jailor follow: lovingly) Tosca Cavaradossi Spoletta gives the necessary instructions. The sky 13 Oh, hands of mercy, innocent and loving, No more grief in all the world… I’ll not fail you. grows lighter as dawn rises and four o’clock sounds.

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The Jailor approaches Cavaradossi and, taking off Tosca Sergeant withdraws the sentinel at the back, and of Sciarrone, Spoletta and other Soldiers can be his hat, points out the Officer, then, having taken (Like that.) then all follow Spoletta down the staircase. Tosca is heard gradually becoming more distinct.) the prison register, he descends the stairs.) (Cavaradossi follows the Officer, first having said very agitated: she watches these movements fearing Spoletta goodbye to Tosca, who moves to the left in the cell that Cavaradossi, through impatience, might move Ah! Jailor in order to follow what is going on on the platform. and speak too soon.) Ready? She sees the Officer and the Sergeant lead (to Cavaradossi, restrained) Sciarrone Cavaradossi to the wall opposite her: the Sergeant Oh! Mario, do not move yet. Cavaradossi Ah! wants to blindfold Cavaradossi who, smiling, They’re going now… Quiet. They’re off. I am ready. Some Soldiers refuses. Such lugubrious preparations exhaust Tosca’s There they go. There they go. Ah! Tosca (to Cavaradossi in a low voice and laughing patience.) They mustn’t see you moving. secretly) 14 What a time they are taking! (Seeing the platform deserted, she goes over to listen Sciarrone (Don’t forget now… I can’t bear this delay! by the entrance to the stairs: she stops there, I tell you someone’s killed him! trembling, anxious, afraid suddenly that the you hear them firing… down…) Sunrise already… Tosca Soldiers, rather than disappearing, will return to Now what else will they think of ? Mario… Cavaradossi (whispering, also laughing) It isn’t serious. I know… the platform. She listens. They have all gone. She (Down!) but still this waiting drives me frantic! goes over to the platform. She listens. They have all Spoletta and Soldiers (shouting) (The Officer and the Sergeant arrange the gone. She goes over to the parapet and, leaning out Scarpia? Tosca platoon of Soldiers, giving them the appropriate cautiously, she looks below, then runs towards Tosca (weeping) (Do not stir till you hear me give a signal.) orders.) Cavaradossi.) Why have you left your Floria? Now then! At last they are ready… Quickly up! Mario! Mario! Cavaradossi Now quickly! Let’s go! (No, my darling.) My dear Mario’s so handsome! Sciarrone (Seeing the Officer ready to lower his sabre, Tosca (touching him, troubled, turning him over) Scarpia. puts her hands over her ears to block out the sound Up, Up! Mario! Mario! Ah! Tosca Tosca of the shots, then she signals to Cavaradossi to fall. Murdered! Murdered! Murdered! (And fall correctly.) Mario! A shot.) Oh! Mario, murdered? You? Like this? Cavaradossi (smiling) There! Fall now! You finish like this! You finish like this! Spoletta (I’ll copy Tosca’s performance.) (Seeing him on the ground she blows him a kiss.) (With incoherent words, sighs, sobs she throws It must be Tosca. Ah, what an artist! herself onto Cavaradossi, not fully comprehending Tosca Tosca (The Sergeant approaches the body and observes it his terrible fate.) (Stop laughing.) Mario! carefully; Spoletta also takes a look and dismisses You murdered… murdered? Cavaradossi (becoming sombre) the Sergeant, preventing him from giving the coup (Meanwhile from the courtyard below, from the Sciarrone and Soldiers (closer) (Like this?) de grâce. The Officer lines up the Soldiers, the parapet and above from the small staircase the voice We must catch her!

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Spoletta and Sciarrone Tosca Stand guard at the bottom of the staircase! With my own! Oh! Scarpia in sight of God! Spoletta, Sciarrone and Soldiers Stand guard at the bottom of the staircase! (She throws herself into space.)

(Spoletta appears on the stairs while Sciarrone (Sciarrone and some Soldiers, having climbed the Rafferty Bill behind him cries out pointing at Tosca.) stairs in confusion, rush over to the parapet and look below. Spoletta stands still, terrified and Sciarrone aghast.) She’s there! End of Opera Spoletta Ah! Tosca, you will pay most dearly for his life… English version by Edmund Tracey (Spoletta moves to throw himself on Tosca, but © 1980 Josef Weinberger Ltd springing to her feet she pushes him away so violently Reprinted by permission of Josef Weinberger Ltd that he almost falls back down the stairs, then she runs to the parapet and from the top cries out:)

Jane Eaglen in the title role of English National Opera’s 1990/91 production of Puccini’s Tosca

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Opera in English on Chandos Opera in English on Chandos CHAN 3017(2) CHAN 3019(3) CHAN 3004 CHAN 3003 CHAN 3029 CHAN 3023(2) CHAN 3066 BOOK.qxd 16/7/07 10:30 am Page 94

Opera in English on Chandos Opera in English on Chandos CHAN 3025(2) CHAN 3022 CHAN 3007

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Opera in English on Chandos Opera in English on Chandos

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Opera in English on Chandos

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Producer Brian Couzens Sound engineer Ralph Couzens Assistant engineer Richard Smoker Editor Jonathan Cooper Recording venue Blackheath Halls; 25–27 & 29–30 August 1995 Front cover Montage of photograph of Jane Eaglen by Larry Merkle and photograph of the Castel Sant’Angelo by John Ferro Sims Back cover Photograph of David Parry by Russell Duncan Design Cass Cassidy Booklet typeset by Dave Partridge Booklet editor Kara Reed Publisher J. Weinberger Ltd This compilation P 2001 Chandos Records Ltd from a P 1996 recording C 2001 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex CO2 8HQ, England CHAN 3054(3) Printed in the EU

102 103 CHAN 3066 Inlay.qxd 16/7/07 10:23 am Page 1 AEEGE IG OC - Philharmonia Orchestra/Parry SINGS TOSCA EAGLEN JANE AEEGE IG OC - Philharmonia Orchestra/Parry SINGS TOSCA EAGLEN JANE bit CHANDOS DIGITAL CHAN 3066 20 Jane Eaglen sings Tosca from Act I 1 ‘Mario! Mario! Mario!’ 3:04 2 ‘Our little house in the country’ 4:27 3 ‘What eyes in all the wide world’ 5:42 ***** 4 ‘(Ah, that explains it)’ 7:45 from Act II 5 ‘It seemed wise to arrest him…’ 4:22 6 ‘Now you and I can talk’ 5:14 7 ‘Enough. Tosca, your answer’ 3:48 8 ‘Floria!’ 4:27 9 ‘How much?’ 4:40 10 ‘Life has taught me singing and loving’ 7:15 with Dennis O’Neill 11 ‘Which route have you chosen?’ 6:52 and Gregory Yurisich from Act III Philharmonia Orchestra 12 ‘Ah! Safe-conduct for Floria Tosca…’ 2:49 David Parry 13 ‘Oh, hands of mercy’ 8:34 HN3066 CHAN HN3066 CHAN CHANDOS CHANDOS 14 ‘What a time they are taking!’ 4:01 TT 73:37 DDD

CHANDOS RECORDS LTD This compilation p 2001 Chandos Records Ltd from a p 1996 recording Colchester . Essex . England c 2001 Chandos Records Ltd Printed in the EU