Review: Tosca, Midsummer Opera **** - Fringe OperaFringe Opera Review: Tosca, Midsummer Opera **** by Francesca Wickers, Reviews Passionate: Midsummer Opera’s evocative performance of Tosca Fiery, passionate, tempestuous. A few words to describe Giacomo Puccini’s Tosca – one of the most fiercely romantic works to emerge from Rome at the turn of the 20th century, and one that every opera lover must surely rank among their top ten. Torture, attempted rape, execution, murder and suicide are squeezed into just two and a half hours; if it’s not delivered with adequate oomph, it simply isn’t worth performing. Fortunately, Midsummer Opera’s production at St John’s Church in Waterloo ticks all the boxes. The company (going strong since 1985) has opera in its blood, and seems intent on doing the whole shebang properly. It’s a sincere operation, from the no-nonsense woman on the door who directs you promptly to the correct ticket desk, to the immaculately dressed front-of-house ‘staff’. Best of all, there’s a full orchestra.

While I’ve become used to pared down scores on the fringe (and remain adamant that a piano accompaniment can be just as affecting in its own way), hearing Puccini’s dramatic harmonies from a symphony orchestra reminds me of its irreplaceable impact. To be able to sit so close is a treat you’ll never get at the Opera House, too. We’re enveloped by the sound. Artistic director David Roblou conducts with flair, drawing meaty playing from the musicians (particularly the sensational brass section). The opera opens with a fleeting yet strong performance from baritone Oskar McCarthy as the escaped political prisoner Angelotti, whose richness of tone sets the pace for this impressive show. Director John Upperton uses the entire church as his playground, which sucks us into the plot (that said, the most tragic part of the tragic ending is that it takes place at the back of the church, so I miss it). We’re given little clue as to the opera’s context, but as a choir of nearly one hundred adults and children flood into the church for the Te Deum chorus which concludes the first act, goose bumps prickle my arms and I feel we could be nowhere but Rome’s Sant’Andrea della Valle church.

Bass Stephen Holloway, who’s graced the stages of the Royal Festival Hall and Scottish Opera, is a slimey Scarpia, his lip curling as he exerts a chilling pressure on the floundering Tosca. In the title role, soprano Deborah Stoddart’s voice shimmers up high, but she loses her battle with the orchestra during the character’s lower, feistier offerings. But tonight’s Tosca should perhaps have been titled Cavaradossi. Puccini’s leading tenor is so often drippy beyond belief, but Upperton steals the show with a respectable, humble interpretation of the man who steals Tosca’s heart. For the first time, Cavaradossi is the person whose emotions I am most concerned about and whose tragic fate I am most dreading. And in his big moment – the aria ‘E lucevan le stelle’ in which he contemplates life in light of his imminent death – Upperton (who’s appeared with both Royal Opera and English National Opera) makes us believe that for him, singing is as natural as talking. Midsummer Opera’s performance is not (officially) a professional one, despite professionals ranking among the cast.

Rather, these singers are singing out of love for opera. And my goodness, it shows. Midsummer Opera’s Tosca continues at St John’s Waterloo until 29 March. For more information, and to book tickets, click here or call 020 7652 0070. Tosca Synopsis, The Story of Puccini's Famous Opera January 14, 1900 - Teatro Costanzi, Rome Plot Setting of Tosca The opera takes place in Rome in 1800, during the month of June. Other Famous Puccini Operas The Synopsis of Tosca Tosca, ACT 1 Inside the church of Sant'Andrea della Valle, an escaped Roman prisoner, Cesare Angelotti, bursts through the doors seeking refuge. After he finds a place to hide within the private Attavanti chapel, an old sacristan appears followed by the painter, Mario Cavaradossi. Mario picks up where he left off the day before and resumes painting a picture of Mary Magdalene. With blonde locks of hair, Mario's painting is based on Angelotti's sister, Marchesa Attavanti.

Mario has never met Marchesa, but he has seen her about town. As he paints, he takes a small statue of Floria Tosca, a singer and his lover, from his pocket to compare her beauty to that of his painting. After the sacristan mutters disapproval of the painting, he leaves. continue reading below our video Great Singers Gone too Soon The escaped prisoner, Angelotti, emerges from his hiding place to speak with Mario. The two have been friends for quite some time and share similar political beliefs. Mario happily greets him and gives him food and drink before quickly pushing him back into hiding as Tosca can be heard approaching the chapel. Tosca is a jealous woman and she takes no effort to hide it. She questions Mario about his faithfulness and love to her before reminding him of their planned rendezvous later that evening. It only takes one look of the painting to send Tosca into a fit of rage. She instantly recognizes the woman in Mario's painting as Marchesa Attavanti. After a bit of explaining and consoling, Mario is able to calm Tosca down. When she leaves the chapel, Angelotti reappears to tell Mario of his planned escape.

Mid-explanation, cannons are heard in the distance signaling Angelotti's escape has been discovered. The two men quickly flee to Mario's villa. The sacristan reenters the church followed by a group of choristers that are to sing a Te Deum later that day. It isn't long until the chief of the secret police, Scarpia, and his men rush into the church. The old sacristan is questioned, but the officers are unable to get their answers. When Tosca enters the church again, Scarpia shows her a fan with the Attavanti family crest inscribed on it. Flying into another fit of jealousy, Tosca vows vengeance and rushes to Mario's villa to confront him with his lies. Scarpia, always suspicious of Mario, sends his men to follow Tosca. He then begins to craft a plan to kill Mario and have his way with Tosca . Tosca, ACT 2 In Scarpia's apartment above the Farnese Palace that evening, Scarpia sets his plan into motion and sends a note to Tosca asking her to join him for dinner. Since Scarpia's men were not able to find Angelotti, they bring Mario in for questioning instead.

Tosca can be heard singing downstairs as Mario is questioned. When Tosca arrives, Mario instructs her not to say anything before he is taken into another room for torture. Scarpia tells Tosca that she can save Mario from unimaginable pain if she agrees to tell him where Angelotti is hiding. For a while Tosca remains strong and tells Scarpia nothing. However, when Mario's cries become louder and more desperate, she gives in and tells Scarpia their secret. When Mario is brought back into the room, he becomes furious after finding out Tosca had given Scarpia Angelotti's location. Suddenly, it's announced that Napoleon has won the battle at Marengo - a blow to Scarpia's side, and Mario shouts, "Victory!" Scarpia immediately seizes him and has his men throw him in prison. Finally alone with Tosca, Scarpia tells her she can save her lover's life if she agrees to give herself to him. Tosca breaks free from his advances and sings, " Vissi d'arte ." Her whole life she has dedicated to art and love, and for what? To be rewarded with grief and misfortune? Tosca prays to the Lord.

Spolleta, one of Scarpia's men, enters the room and tells him that Angelotti killed himself. Scarpia declares that Mario must be executed too unless Tosca gives in to his advances. If she does, Scarpia will stage a mock execution. Tosca finally agrees to the plan on the condition that he will provide safe passage for the two lovers to flee. Scarpia agrees and gives orders to Spolleta that the execution will be fake, before signing the contract the two have drafted. Spolleta shakes his head in acknowledgement and leaves. As Scarpia approaches her for an embrace, she takes out a knife she swiped from his dinner table and stabs him to death. After taking the signed document from his lifeless hands, she places candles next to his body and lays a crucifix on his chest. Tosca, ACT 3 Early before sunrise in the Castel Sant'Angelo, Mario is told he has only one hour of life left. He refuses council with a priest and writes a letter to his beloved Tosca instead. Mario is unable to complete his letter due to a surge of emotion. Moments later Tosca rushes in to tell him all that has happened after he was taken away.

Mario, overjoyed, sings to Tosca that her sweet and soft hands have had to kill a man for Mario's life. Tosca explains that the execution will be fake, but he must give a believable performance in order for them to escape freely. Mario is taken away and Tosca is left waiting impatiently. As the execution is carried out and the guns are fired, Mario falls to the ground. Tosca shouts out, happy with his flawless performance. Once everyone leaves, she rushes to Mario to hug him, overjoyed with the new life ahead of them. She tells him to hurry as they must flee town before Scarpia's body is discovered, but Mario does not move. When she bends down to him, she realizes he is dead. Scarpia has betrayed her from beyond the grave. Real bullets were used. Out of great heartbreak, she throws herself over his body and weeps. Cries are heard in the distance when Scarpia's body is discovered. Spolleta and a legion of officers swarm the castle to arrest Tosca. Tosca evades them, and with one last cry, hurls herself out of the castle and plummets to her death.

07 January 2016 (Thu), 19:00 - Floria Toska (Opera in 3 acts) Giacomo Puccini (Opera) - Mikhailovsky Classical Ballet and Opera Theatre (established 1833) - BalletAndOpera.com Performed in Italian the performance will have Russian supertitles World premiere: 14 January 1900, Teatro Costanzi, Rome, Italy Premiere in Russia: 1900 Odessa Opera House, the Italian Private Company Premiere of this production: 28 February 1999, Mikhailovsky theatre, St. Petersburg, Russia Victorien Sardou�s drama La Tosca was created for the great actress Sarah Bernhardt. Puccini saw Sardou�s play when it was touring Italy in 1889 and, after some vacillation, obtained the rights to turn the work into an opera six years later. Turning the wordy French play into a succinct Italian opera took four years, during which the composer repeatedly argued with his librettists and publisher.

The work is a melodramatic piece set in Rome in June 1800, with the Kingdom of Naples�s control of Rome threatened by Napoleon�s invasion of Italy. It contains depictions of torture, murder and suicide, yet also includes some of Puccini�s best-known lyrical arias, and has inspired memorable performances from many of opera�s leading singers. The dramatic force of Tosca and its characters continues to fascinate both performers and audiences, and the work remains one of the most frequently performed operas. At the Mikhailovsky Theatre one can hear the best soloists of the house. Synopsis Act one The Church of Sant�Andrea in Rome. Cesare Angelotti, former Consul of the Republic of Rome and now a political prisoner who has escaped from prison, is seeking shelter here. He hides in the chapel of his sister, the Marchesa Attavani. Artist Mario Cavaradossi is working on an image of Mary Magdalene. The sacristan is shocked that the painting resembles the Marchesa Attavani. After the sacristan leaves Angelotti appears from the chapel and begs the artist for help. On appearance of the famous singer Floria Tosca, the artist�s lover, he hides again.

The singer also notices the painting of Mary Magdalene resembles the Marchesa Attavani. Tosca is jealous but the artist manages to pacify her. Floria leaves the church. Gunshots are heard � the escape of the political prisoner has been discovered. Cavaradossi offers the fugitive refuge in his villa. The men hurry away. The sacristan returns surrounded by a laughing crowd of choir boys. They falsely believe that Napoleon has been defeated and are there to sing thankful hymns. Floria Tosca is to perform in the celebration too. Scarpia, chief of Roman police, arrives with Spoletta and Sciarrone in search of the escaped prisoner. They expect to discover Angelotti in the Attavani chapel but find only an empty food basket and the fan of the Marchesa. Seeing Tosca return to the church, Scarpia decides to seize his opportunity. Scarpia arouses Tosca�s jealousy by mentioning the the painting by Cavaradossi and producing Marchesa Attavanti�s fan, and she departs in anger. He orders his agent to follow her, hoping that Tosca will lead them to the artist�s secret hiding place. A celebratory mass begins.

Act two Scarpia�s room at Palazzo Farnese. He sends a servant to give a note to Tosca to invite her to come to his place when she finishes with her recital. His expectations are only half fulfilled: Tosca did lead them to Cavaradossi who has now been arrested but Angelotti has escaped. Scarpia closely questions the painter, but Cavaradossi reveals nothing. Tosca arrives and the painter whispers to her not to say anything about Angelotti. Scarpia sends Cavaradossi off to be tortured. Tosca can�t stand his sufferings; she loses her self-control and reveals the secret hiding place in the garden. Cavaradossi is brought in. He hears the chief of police and understands that the secret has been revealed. The painter is desperate. Sciarrone enters to announce that earlier reports were mistaken: Bonaparte has defeated the royalist forces at the battle of Marengo. The painter is to be executed the next morning. Tosca begs Scarpia to spare Cavaradossi. Scarpia avows his passion for Tosca and demands her as the price of Cavaradossi�s life.

Feeling as if she has no alternative, Tosca finally agrees to yield. Scarpia orders Spoletta to organize for a mock execution of Cavaradossi, while Tosca demands a safe-conduct for herself and the painter to leave the country. As Scarpia advances to embrace her, she plunges the knife into him. Scarpia is dead. Tosca leaves the palace. Act three Top floor of Castel Sant�Angelo where Cavaradossi is to be executed. Tosca rushes in and explains it is to be a mock execution. Soldiers appear. They fire and the artist falls to the ground. Floria calls his name in vain: the execution was real. Spoletta, who has discovered Scarpia�s death, enters with soldiers, denouncing her as a murderer. Tosca throws herself from the parapet. Tosca | The Opera 101 The Opera 101 Fill out the fields below to contact us! Your name * Recordings About Tosca is one of the most lethal of operas. None of the central characters make it to the end alive, hero or villain.

Unsurprisingly then, it's a thrilling melodrama often dismissed as one-dimensional and tawdry. You’d be foolish to go in with this attitude however, Puccini takes an overtly theatrical tale and makes it astonishingly moving. Tosca is fundamentally historical fiction, a vague knowledge of the period is highly useful, though it is very much the 18th Century as seen through 19th Century eyes. Luckily it still works as seen through 21st Century eyes because at its core, Tosca is tale of romance over politics; featuring a heroic painter, a despicable ruler and an opera superstar, Tosca herself! Productions of Tosca can go a variety of ways though predominantly it remains an opera that is staged fairly literally. Expect a big church to open the evening and an impressive battlement to close it. Characters A sweet, bumbly priest who gets his facts badly wrong in Act I. Synopsis Act I - Running Time: 45 mins We begin in Sant'Andrea della Valle, a large church in Rome. Angelotti comes pelting in, he has just escaped from prison, and hides in a small, private chapel within the church.

Our hero for the evening, Cavaradossi enters to resume his work. He is a painter and has been commissioned to paint a picture of Mary Magdalene for the church. The scristan bumbles about and offers Cavaradossi some food, which he refuses. Cavaradossi gets his first big aria of the evening, “Recondita Armonia”. Jonas Kaufmann sings "Recondita Armonia" Angelotti bursts out, revealing himself to Cavaradossi. They are old friends but as Cavaradossi is on the brink of assisting Angelotti, who should show up but Tosca herself. Cavaradossi quickly gives Angelotti his food and hides him away again. The jealous Tosca is convinced she overheard Cavaradossi talking to someone, believing it to be another woman. She sees Cavaradossi's new painting, recognizing the image as that of Marchesa Attavanti and turns jealous again. Cavaradossi calms her down with “Qual’occhio al mondo”, what eyes in the world could compare to hers!

Tosca (Karita Matilla) and Cavaradossi (Marcelo Álvarez), Met Opera She leaves, still demanding that he change the eyes, and Angelotti reappears. Cavaradossi shows him a secret way out and gives him a key to his villa, informing him of a hiding place in the well of the garden. Cannon fire is heard, announcing the escape of a prisoner (Angelotti), Angelotti quickly flees. Scarpia (Falk Struckmann), Metropolitan Opera The sacristan returns with the church choristers, celebrating the news that Napoleon has been defeated. However things quickly turn sour as Scarpia arrives with his lackeys. They believe Angelotti is hiding in the church and searching the place find the empty food basket and a fan belonging to Attavanti. Scarpia interrogates the sacristan and learning Cavaradossi has been here, becomes convinced that he is on the right track. Tosca comes back looking for Cavaradossi. Scarpia connives to make her jealous by showing her the Attavanti fan.

He succeeds and Tosca leaves to confront Cavaradossi unaware that she is to be followed by Scarpia’s men. A truly epic scene of gloating is delivered by Scarpia culminating in the magnificent, “Te Deum”. Act II - Running Time: 40 mins It is later the same day and the curtain rises on Scarpia’s apartment. He has been unable to find Angelotti but has arrested Cavaradossi and sent a note for Tosca to come to his apartment. Cavaradossi is dragged in and interrogated. He reveals nothing and as Tosca arrives he is taken away to be tortured. In his parting words he tells Tosca to tell Scarpia nothing, no matter his suffering. Cavaradossi Sings his joy, Sarasota Opera Tosca initially resists Scarpia but after hearing Cavaradossi’s screams of pain she crumbles and reveals the location of Angelotti. Cavaradossi is dragged back in and upon hearing that Tosca has broken, he is absolutely devastated. Sciaronne arrives with the news that Napoleon has been victorious at Marengo.

This is extremely good news for Cavaradossi and he unleashes “Vittoria, vittoria” in celebration, before being dragged off to be executed. "Vittoria, vittoria" sung by Luciano Pavarotti Left alone with Tosca, Scarpia presents her with a hideous bargain. If she will give herself to him, Cavaradossi will be released. She rejects his advances and sings one of the most famous tunes in the opera, “Vissi d’arte” - I lived for art. Sondra Radvanovsky sings "Vissi d'arte" Spoletta enters with the news that Angelotti was found but killed himself before he could be arrested. Furthermore, the execution of Cavaradossi has been arranged. Hearing all this, the now broken Tosca agrees to Scarpia’s deal. Scarpia tells Spoletta to complete the execution in the same manner as the execution of Count Palmieri. Tosca presses Scarpia to also grant her and Cavaradossi safe passage from Rome the next day. He agrees and while writing out the letter... Tosca finds a knife on the dinner table.

As Scarpia moves to rape her, she stabs him to death. Tosca takes the letter from him, lights candles and places a crusifix on him as a gesture of piety before fleeing the scene. Tosca (Martina Serafin) lays candles, Royal Opera Act III - Running Time: 30 mins The battlement of the Castel Sant’Angelo early the next morning. A young boy is heard singing as the bells chime for matins. Cavaradossi is led in and informed this will be his final hour, he has no interest in seeing a priest but asks for some paper to write a letter to Tosca. He sings “E lucevan le stelle” - and the stars shone. Tosca arrives and quickly explains everything. The execution will be faked, the firing squad will use blanks so Cavaradossi must pretend to die. They joyously sing of the life they can now have together. Tosca (Angela Gheorghiu) watches Cavaradossi shot, Royal Opera Cavaradossi is led away to be shot. The marksmen fire, Cavaradossi falls to the ground.

The marksmen depart as Tosca runs over to Cavaradossi. Surprise, surprise! She finds him dead, Scarpia had tricked her all along. Spoletta is heard off stage with soldiers, Scarpia’s body has been found! Tosca runs to the parapet and crying “O Scarpia, Avanti a Dio!” - Oh Scarpia, we meet before God! She flings herself over the edge. Tosca (Amanda Echalaz) falls, English National Opera Major Arias Tosca | Opera Australia Opera Australia Joan Sutherland Theatre, Sydney Opera HouseFebruary 17 – March 31, 2017 Hide Dates and Prices Buy Tickets Hear the story behind the opera. Join us 45 minutes before this performance when a member of Opera Australia's artistic team will share their insights into the opera. Held in the Northern Foyer of the Joan Sutherland Theatre, this informal and informative talk will help you to get the most out of your opera experience. Fri 3.3.17 Buy Tickets Hear the story behind the opera.

Join us 45 minutes before this performance when a member of Opera Australia's artistic team will share their insights into the opera. Held in the Northern Foyer of the Joan Sutherland Theatre, this informal and informative talk will help you to get the most out of your opera experience. Tue 14.3.17 Buy Tickets Hear the story behind the opera. Join us 45 minutes before this performance when a member of Opera Australia's artistic team will share their insights into the opera. Held in the Northern Foyer of the Joan Sutherland Theatre, this informal and informative talk will help you to get the most out of your opera experience. Fri 31.3.17 Buy Tickets Tosca is a war drama that draws you in from the first notes and holds you fast, as a gripping story of love, lust and betrayal that unfolds at breakneck pace. John Bell's intense production relocates the opera to Nazi-occupied Rome, seeking to recapture the shock Puccini's original audience might have felt seeing a war they remembered, depicted on stage. Bell doesn't want you to watch a tragedy of fiction.

"This is a true story: it has happened many, many times over throughout history, it happened during the world wars, it's happening now, somewhere in the world," he explains. "A tyrannical regime, resistance fighters hunted down, women forced to give sexual favours in order to protect a loved one — these things are still happening, and always have been, during war." It's a reality we all recognise, that we see on the news: the everyday banality of evil. The sets are truly awe-inspiring, from the perfect recreation of a Roman basilica, to the cold impassive power of Scarpia's fascist headquarters. In Tosca, some of the most powerful music in opera must be sung by three powerhouse performers, and here, glorious voices led by Spanish soprano Ainhoa Arteta, and conducted by Christian Badea, will make you fall under Tosca's spell. At last they are alone. The man hunt, the interrogation, the prayers, all forgotten as he leers at his conquest. Just sign the note of safe passage and she’s his! Where’s that pen? His upper lip sweats as he readies himself for Tosca’s kiss.

He doesn’t see the knife glinting behind her back. Head up the stairs at the Joan Sutherland Theatre to enjoy the pop-up bar with an unbeatable view of the harbour, exclusive to ticket holders. The bar opens 90 minutes before evening performances. See the menu . Listen to 'Vissi d'arte' from Tosca Video Running time: approximately 3 hours, including two intervals. Sung in Italian, with English surtitles. The Story Hide In a beautiful church, the painter Cavaradossi is working. When an escaped prisoner bursts in, Cavaradossi risks his own life to help Angelotti hide from the Fascist police. But Cavaradossi’s lover, Tosca, overhears him talking and becomes jealous. In spite of Cavaradossi’s ardent assurances of love, it is easy for the chief of police, Scarpia to fan the flames of her jealousy. He wants Tosca for himself. Scarpia arrests Cavaradossi on suspicion of aiding Angelotti, and as he is tortured, Tosca is made to listen to his cries.

She has a fateful choice before her: give into the hateful Scarpia’s lascivious demands and save her lover’s life, or save her honour and kill Cavaradossi. In that terrible moment, Tosca makes a choice, and the consequences play out in a heart-rending Act III. Synopsis Hide Act I Angelotti, who has just escaped from prison, finds a key left for him in a church by his sister, the Marchesa Attavanti, and hides in the Attavanti chapel. The sacristan enters, grumbling about having to clean the painter Cavaradossi's brushes. Cavaradossi returns to his work and, when Angelotti emerges from hiding, promises to help him but tells him to hide again when they hear Tosca approaching. Although she begins to suspect that he is having an affair with the Marchesa, Cavaradossi reassures her of his love before she leaves. Angelotti tells Cavaradossi that his sister has left him some female clothing and that he intends to escape in disguise. Cavaradossi mentions a hiding-place down the well in his garden in case of emergency.

They hear a shot, indicating that the escape has been discovered, and Cavaradossi rushes Angelotti to his safe house. The sacristan announces a grand Te Deum to celebrate a report of a victory for the current regime. Excitement at this news is cut short by the arrival of Scarpia, on Angelotti's track. A search of the church reveals a fan with the crest of the Attavanti and, when Tosca returns, looking for Cavaradossi, Scarpia uses it to inflame her jealousy, as a way of winning Tosca for himself. Act II Scarpia waits for Tosca, who is singing at an official reception to celebrate the victory. Spoletta informs him that Angelotti has still not been found but that Cavaradossi has been arrested. Under interrogation he denies any knowledge of Angelotti. Tosca arrives as Cavaradossi is led off to torture. At first she refuses to tell Scarpia anything, but finally she can bear Cavaradossi’s suffering no longer and reveals Angelotti’s hiding-place.

When Cavaradossi is brought in and hears Scarpia ordering the arrest of Angelotti it is obvious that Tosca has betrayed him. At this moment the news of a serious defeat for the current regime arrives. Cavaradossi is triumphant and Scarpia orders his execution. Tosca begs for the life of her lover and Scarpia names his price: she must have sex with him in exchange for Cavaradossi’s freedom. Seeing no alternative, she agrees, and Scarpia orders Spoletta to perform a mock execution of Cavaradossi, after which he and Tosca will be able to escape. As he claims his reward, however, Tosca kills him. Act III Cavaradossi awaits execution. He remembers the happiness Tosca had brought him. Tosca then tells him what has happened and prepares him for the mock execution. She realises too late that she has been deceived by Scarpia: the execution was real. Tosca pays for Scarpia’s murder with her own life.

Tosca A Shepherd-boy (contralto) Roberti, Executioner (mute) A Cardinal, a Judge, a Scribe, an Officer, a Sergeant (mute: not a speaking or singing role) Plus misc Soldiers, Police-Agents, Ladies, Nobles, Citizens, Artisans, etc. Act One The Church of Sant'Andrea della Valle Angelotti, an escaped political prisoner, takes refuge in a side chapel of the church of Sant'Andrea della Valle in Rome. An elderly sacristan comes to tidy up, followed by Cavaradossi, a painter, who is at work on a portrait of the Madonna. Cavaradossi compares his Madonna's blonde-haired, blue-eyed charm with the dark beauty of his lover, the famous singer Floria Tosca ("Recondita armonia"). Angelotti emerges from hiding to find Cavaradossi, his political ally, who promises to help his friend escape from Rome. Angelotti hides again at the sound of Tosca's voice from outside. Tosca jealously demands to know why the door was locked. Cavaradossi reassures her, and they join in a passionate duet ("Non la sospiri").

Once Tosca has gone, Angelotti reappears and he and Cavaradossi plan his flight. A cannon shot from the Castel Sant'Angelo announces the discovery of Angelotti's escape. They exit. The sacristan enters followed by clerics and choir boys, all excited by rumors of Bonaparte's defeat ("Tutta qui la cantoria"). Baron Scarpia, the chief of police, arrives with his henchman Spoletta in search of the escaped prisoner. Tosca returns, and Scarpia plays upon Tosca's jealousy in hopes of discovering Angelotti's whereabouts ("Tosca divina"). When she leaves to seek her lover, Scarpia has her followed. As the crowd intones the "Te Deum," Scarpia vows to bring Cavaradossi to the gallows and Tosca into his arms ("Va, Tosca! Nel tuo cuor s'annida Scarpia"). Act Two Scarpia's study in the Palazzo Farnese; that evening. Alone at dinner, Scarpia reviews his plot.

Spoletta reports that he and his men trailed Tosca to the villa and found no trace of Angelotti, but placed Cavaradossi under arrest. Cavaradossi is brought in and questioned. Scarpia has sent for Tosca, and she enters as Cavaradossi is taken away to be tortured. Upon hearing his anguished cries, Tosca reveals Angelotti's hiding place. Cavaradossi is dragged into the study. His anger at Tosca's betrayal turns to joy when Sciarrone announces that Bonaparte has actually defeated Melas at Marengo. The enraged Scarpia sends Cavaradossi back to his cell. Tosca asks the price of her lover's freedom. Scarpia will accept only Tosca's submission. "Vissi d'arte" ("I have lived for art"), Tosca sobs to herself in a celebrated aria: she has devoted her life to music and piety, why does God repay her with misery? As she struggles to free herself from Scarpia's embrace, Spoletta enters with the news that Angelotti has killed himself rather than be arrested.

Ashamed, Tosca signals that she will give in to the Baron, on condition that Cavaradossi be set free at once. Scarpia explains that he cannot grant a pardon; he can only release Cavaradossi by faking his death in a mock execution. Tosca demands that Scarpia provide a note of safe conduct for herself and Cavaradossi. While he is writing, Tosca catches sight of a sharp knife on his dinner table and, unnoticed, takes it. Scarpia seals the note, then turns eagerly to embrace the trembling diva. "Questo � il bacio di Tosca!" ("This is Tosca's kiss!"), she cries, plunging the knife deep into his heart. Scarpia cries out for help as Tosca curses him. She takes the safe-conduct pass and slips out of the room. Act Three The Castel Sant'Angelo; dawn of the following day. Soldiers bring Cavaradossi to the ramparts of the fortress. He reflects on his love for Tosca ("E lucevan le stelle"). Tosca rushes in with the note of safe conduct and the story of Scarpia's violent death.

Cavaradossi praises her courage, saying that her gentle hands were not meant for murder ("O dolci mani"). Tosca instructs him in the plan of the feigned execution: after the gunshots he is to lie still until she gives him a signal. Though she believes the execution to be a farce, Tosca is filled with anxiety as her lover is led before the soldiers. They fire and Cavaradossi falls to the ground. Tosca whispers to him to remain motionless until everyone has gone. At last she tells him it is safe, but he does not respond. With a piercing scream, Tosca realizes Scarpia's final deceit. She weeps over Cavaradossi's body as Spoletta and Sciarrone, having found the Baron murdered, burst in to arrest her. Too quick for them, she runs to a parapet, shouts "O Scarpia, avanti a Dio!" ("Oh Scarpia, we shall meet before God!"), and hurls herself to her death. Puccini's Tosca The Story of the Opera Rome, 1800. ACT I.

Cesare Angelotti, an escaped political prisoner, rushes into the church of Sant’ Andrea della Valle to hide in the Attavanti chapel. As he vanishes, an old Sacristan shuffles in, praying at the sound of the Angelus. Cavaradossi enters to work on his portrait of Mary Magdalene - inspired by the Marchesa Attavanti (Angelotti’s sister), whom he has seen but does not know. Taking out a miniature of the singer Floria Tosca, he compares her raven beauty with that of the blonde Magdalene. The Sacristan grumbles disapproval and leaves. Angelotti ventures out and is recognized by his friend and fellow liberal Cavaradossi, who gives him food and hurries him back into the chapel as Tosca is heard calling outside. Forever suspicious, she jealously questions him, then prays, and reminds him of their rendezvous that evening at his villa. Suddenly recognizing the Marchesa Attavanti in the painting, she explodes with renewed suspicions, but he reassures her.

When she has gone, Cavaradossi summons Angelotti from the chapel; a cannon signals that the police have discovered the escape, so the two flee to Cavaradossi’s villa. Meanwhile, the Sacristan returns with choirboys who are to sing in a Te Deum that day. Their excitement is silenced by the entrance of Baron Scarpia, chief of the secret police, in search of Angelotti. When Tosca comes back to her lover, Scarpia shows her a fan with the Attavanti crest, which he has just found. Thinking Cavaradossi faithless, Tosca tearfully vows vengeance and leaves as the church fills with worshipers. Scarpia, sending his men to follow her to Angelotti, schemes to get the diva in his power. ACT II. In the Farnese Palace, Scarpia anticipates the sadistic pleasure of bending Tosca to his will. The spy Spoletta arrives, not having found Angelotti; to placate the baron he brings in Cavaradossi, who is interrogated while Tosca is heard singing a cantata at a royal gala downstairs.

She enters just as her lover is being taken to an adjoining room: his arrogant silence is to be broken under torture. Unnerved by Scarpia’s questioning and the sound of Cavaradossi’s screams, she reveals Angelotti’s hiding place. Cavaradossi is carried in; realizing what has happened, he turns on Tosca, but the officer Sciarrone rushes in to announce that Napoleon has won the Battle of Marengo, a defeat for Scarpia’s side. Cavaradossi shouts his defiance of tyranny and is dragged to prison. Scarpia, resuming his supper, suggests that Tosca yield herself to him in exchange for her lover’s life. Fighting off his embraces, she protests her fate to God, having dedicated her life to art and love. Scarpia again insists, but Spoletta interrupts: faced with capture, Angelotti has killed himself. Tosca, forced to give in or lose her lover, agrees to Scarpia’s proposition. The baron pretends to order a mock execution for the prisoner, after which he is to be freed; Spoletta leaves.

No sooner has Scarpia written a safe-conduct for the lovers than Tosca snatches a knife from the table and kills him. Wrenching the document from his stiffening fingers and placing candles at his head and a crucifix on his chest, she slips from the room. ACT III. The voice of a shepherd is heard as church bells toll the dawn. Cavaradossi awaits execution at the Castel Sant’Angelo; he bribes the jailer to convey a farewell note to Tosca. Writing it, overcome with memories of love, he gives way to despair. Suddenly Tosca runs in, filled with the story of her recent adventures. Cavaradossi caresses the hands that committed murder for his sake, and the two hail their future. As the firing squad appears, the diva coaches Cavaradossi on how to fake his death convincingly; the soldiers fire and depart. Tosca urges Cavaradossi to hurry, but when he fails to move, she discovers that Scarpia’s treachery has transcended the grave: the bullets were real.

When Spoletta rushes in to arrest Tosca for Scarpia’s murder, she cries to Scarpia to meet her before God, then leaps to her death. -Courtesy of Opera News Tosca | Opera Idaho Soldiers, police agents, altar boys, noblemen and women, townsfolk, artisans (chorus) Overview Giacomo Puccini’s melodrama about a volatile diva, a sadistic police chief, and an idealistic artist contains many famous arias, including “Vissi d’arte” (Tosca) and “E lucevan le stele” (Cavaradossi). Soprano Eleni Calenos returns as the ill-fated title character – Eleni has previously appeared with Opera Idaho in the title roles of La bohème and Madama Butterfly, and as Micaela in Carmen. Steven Crawford returns to conduct his ninth opera for Opera Idaho. Both during his lifetime and in posterity, Puccini's success outstripped other Italian opera composers of his time, and he has been matched in this regard by only a handful of composers in the entire history of opera.

Three of Puccini's operas (Tosca, La bohème and Madama Butterfly) rank among the top ten works performed worldwide. This will be Opera Idaho’s fifth production of Tosca, making the opera one of the company’s most oft-performed operas. The most recent production was in 2003. Act I Rome, June 1800. Cesare Angelotti, an escaped political prisoner, rushes into the church of Sant’Andrea della Valle. He hides in one of the chapels just before the painter Mario Cavaradossi arrives to work on his portrait of Mary Magdalene. The painting has been inspired by the Marchesa Attavanti, whom Cavaradossi has seen in the church but does not know. He is struck by the resemblance of the dark-haired beauty of his lover, the singer Floria Tosca, and that of the blonde Marchesa Attavanti. Angelotti, who was a member of the former Bonapartiste government, emerges from his hiding place. Cavaradossi recognizes him and promises help, then hurries him back into the chapel as Tosca is heard calling from outside.

She jealously asks Cavaradossi whom he has been talking to and reminds him of their rendezvous that evening. Suddenly recognizing the Marchesa Attavanti in the painting, she accuses him of being unfaithful, but he assures her of his love. When Tosca has left, Angelotti again comes out of hiding. A cannon signals that the police have discovered the escape, and he and Cavaradossi flee to the painter’s house. The sacristan enters with choirboys who are preparing to sing in a Te Deum celebrating the recent victory against Napoleon at the Battle of Marengo. Their excitement is silenced by the arrival of Baron Scarpia, chief of the secret police, who is searching for Angelotti. When Tosca comes back looking for Cavaradossi, Scarpia shows her a fan with the Attavanti crest that he has just found. Seemingly finding her suspicions about her lover’s infidelity confirmed, Tosca bursts into tears. She vows vengeance and leaves as the church fills with worshippers. Scarpia sends his men to follow her to Cavaradossi, with whom he thinks Angelotti is hiding.

While the congregation sings the Te Deum, Scarpia declares that he will bend Tosca to his will. Act II In his study at the Palazzo Farnese, Scarpia anticipates the pleasure of having Tosca in his power. The spy Spoletta arrives with news that he was unable to find Angelotti. Instead he brings in Cavaradossi. While Scarpia interrogates the defiant painter, Tosca is heard singing at a royal gala in the same building. Scarpia sends for her and she appears just as Cavaradossi is being taken away to be tortured. Frightened by Scarpia’s questions and Cavaradossi’s screams, Tosca reveals Angelotti’s hiding place. Cavaradossi is brought in, badly hurt and hardly conscious. When he realizes what has happened, he angrily confronts Tosca, just as the officer Sciarrone rushes in to announce that Napoleon in fact has won the battle, a defeat for Scarpia’s side. Cavaradossi shouts out his defiance of tyranny and is dragged off to be executed.

Scarpia calmly suggests to Tosca that he would let Cavaradossi go free if she’d give herself to him. Fighting off his advances, she declares she has dedicated her life to art and love and calls on God for help. Scarpia insists, when Spoletta interrupts: faced with capture, Angelotti has killed himself. Tosca, now forced to give in or lose her lover, agrees to Scarpia’s proposition. Scarpia orders Spoletta to prepare for a mock execution of Cavaradossi, after which he is to be freed. Tosca demands that Scarpia write her a safe-conduct. When he has done so, she grabs a knife from a table and stabs him. Act III At dawn the next morning, Cavaradossi awaits execution at the Castel Sant’Angelo. He bribes the jailer to deliver a farewell letter to Tosca, then, overcome with emotion, gives in to his despair. Tosca appears and explains what has happened. The two imagine their future in freedom. As the execution squad arrives, Tosca implores Cavaradossi to fake his death convincingly, then hides. The soldiers fire and depart.

Cavaradossi doesn’t move and Tosca realizes that Scarpia has betrayed her. Just as Spoletta rushes in to arrest her, she leaps from the battlement. Opera Idaho Tosca – review | Music | The Guardian Tosca – review 3 / 5 stars Millennium Centre, Cardiff As if matching the Welsh National Opera's Tudor trilogy, this new Puccini has upped the gore count Fire in the belly … Tosca. Photograph: Robert Workman Share on Messenger Close By comparison with the glare surrounding Welsh National Opera 's Tudor trilogy, Puccini's Tosca has seemed like the autumn season's afterthought. But, with two queens already dispatched to the execution block in the former, there's also a bit more blood and gore than previously in this revival of Michael Blakemore's 1992 production. Making a spirited UK debut in the title role, the American soprano Mary Elizabeth Williams murders Baron Scarpia, the evil chief of police, with several vicious stabs, so that there's no mistaking either her intention or the outcome. Williams is a big-voiced singer with a vibrant presence, and the central act was the stronger for her feistiness.

Yet the opera only works well when the political background of early 19th-century Rome emerges strongly and, with it the radical affiliations of artist Mario Cavaradossi, described with disdain by Scarpia as a "Voltairean". In this respect, tenor Gwyn Hughes Hughes 's Cavaradossi had real fire in his belly and in his tone: he articulated the passion of his principles and his passion for Floria Tosca with equal emotional validity, and there was a ringing conviction to his delivery of all the big arias. It was disappointing, then, that Claudio Otelli's Scarpia was not the personification of evil that would have completed a strong trio of principals. Elegant of bearing and with some well-projected sounds in the upper part of the voice, Otelli seemed ineffectual below a certain pitch and volume, with too little sense of snake-like lechery and cruel machinations. Daniel Grice was well cast as the escaped political prisoner Angelotti, while William Robert Allenby brought a nicely comic humour to the Sacristan.

Under the baton of music director Lothar Koenigs, the WNO chorus made the climax to the first act and the Te Deam robustly resonant. But the Ku Klux Klan-style masks among the bearers in the bishop's procession strike a curious note. • Did you catch this show – or any other recently? Tell us about it using #gdnreview The Story of Tosca Audio Clip courtesy of EMI Classics Tosca recorded at La Scala, 1953 Giuseppe Di Stefano as Cavaradossi Maria Callas as Tosca After Tosca leaves, Mario summons Angelotti, as a cannon signals that police have discovered the escape; the two flee to Mario’s villa. The Sacristan returns with choirboys who are about to sing Te Deum. Their excitement is silenced by the entrance of Baron Scarpia , the chief of the secret police, in search of Angelotti. When Tosca returns looking for Mario, Scarpia shows her the Attavanti crest on a fan he has found. Thinking Mario faithless, Tosca tearfully vows vengeance and leaves, as the church resounds with Te Deum.

Scarpia has the diva trailed, scheming to get her in his power with the aria Va Tosca! Act II In the Farnese Palace, Baron Scarpia anticipates the pleasure of bending Tosca to his will in the aria Ha più forte sapore. The spy Spoletta arrives; having failed to find Angelotti, he placates the baron by bringing in Mario, who is interrogated while Tosca is heard singing at a royal gala downstairs. She enters as her lover is dragged away to be tortured. Unnerved by Mario’s screams, she reveals Angelotti’s hiding place. Mario is carried in and, realizing what has happened, he rages at Tosca for her betrayal. When the gendarme Sciarrone rushes in to announce Napoleon has won the Battle of Marengoa defeat for Scarpia’s sideMario shouts his defiance in Vittoria! and is dragged to prison. Scarpia suggests that Tosca yield to him in exchange for her lover’s life. Fighting him off, she protests in the exquisite aria Vissi d’arte her fate to God, having dedicated her life to art and love.

Act II: Baron Scarpia propositions Tosca Photo from a Michigan Opera Theatre production Tosca sings aria Vissi d’arte Audio Clip courtesy of EMI Classics Tosca recorded at La Scala, 1953 Maria Callas sings one of her most famous arias Spoletta interrupts and announces that Angelotti, faced with capture by the police, killed himself instead. Tosca accepts Scarpia’s propositiion to give herself up to save Cavaradossi. The baron pretends to order a mock execution and Spoletta leaves. Scarpia prepares a document of safe conduct for the lovers. When he embraces her, Tosca stabs him with a knife from the table, wrenches the document from his hand and, placing a crucifix on his chest, slips out. Act III As church bells toll the dawn, a Shepherd is heard singing. Mario is led to the roof of Castel Sant’Angelo to await execution. He bribes the jailer to convey a farewell note to Tosca. Writing it, overcome with memories of love, he gives way to despair in the aria E lucevan le stelle. Suddenly, Tosca runs in with the story of her recent adventure.

Mario caresses the hands that commited murder for his sake in O dolci mani and the two hail the future. Act III: Tosca speaks with Mario Photo from MOT Production Mario sings O Dolci Mani Audio Clip courtesy EMI Classics Tosca recorded at La Scala, 1953 Giuseppe Di Stefano as Mario Maria Callas as Tosca As the firing squad appears, the diva coaches her lover on how to fake his death convincingly. The soldiers fire at Mario and then depart. Tosca urges Mario to hurry, but when he fails to move, she discovers Scarpia’s treachery: the bullets were real. Spoletta rushes in to arrest Tosca. She climbs the battlements and, crying that she will meet Scarpia before God, leaps to her death. --Summary of Tosca Courtesy of OPERA NEWS The History of Tosca Giacomo Puccini’s Tosca was first performed at the Teatro Costanzi in Rome, Italy on January 14th, 1900. It was based on a play, of the same name, by the famous French playwright, Victorien Sardou (1831-1908).

Sardou had written his play for the equally famous French actress Sarah Bernhardt. Ms. Bernhardt performed many times at our Academy of Music at the turn of the century. This play combined many elements of interest for the audience. It included love, jealousy, sexuality, politics, murder and religion. Puccini had his librettists, Luigi Illica and Giuseppe Giacosa, diminish the neurotic jealousy of Tosca, as she appeared in the play and had them increase her religious devotion. This enabled the audience to contrast the horridly negative character of Rome’s chief of police, Baron Scarpia, with the simplistically devotional Tosca. Added to this was the absolute monarchy of the Pope as contrasted with democratic ideals of the political prisoner Angelotti. Act I: Sant’Andrea della Valle, Scarpia tries to locate escaped prisoner Angelotti by deceiving Tosca that her lover Mario is unfaithful Photo from Michigan Opera Theatre Production In Tosca’s world, the ideals of good and evil are not as easily seen as black and white. While Tosca had little time for politics, she was caught between her faith in and love for God, as well as her love for the painter Mario Cavaradossi.

A close friend of Puccini, who was also a priest of the Roman Catholic Church, Dante Del Fiorentino, felt that Puccini put his own feelings about the complex relationship the church had in the history of Italy and his own unique understanding of it into the libretto. Puccini had more allusions to religion and more religious comments written into the dialogue of the characters than are to be found in Sardou’s play. For Italian Puccini, the religious side of the story was very important in building tension and conflict in his Italian opera. As a result, Father Del Fiorentino felt that Tosca was Puccini’s most personal opera because it displayed his personal feelings concerning his faith and love for his God, as well as his relationship with the Church of his day.

Question: The escaped prisoner "Angelotti" appears in which opera?
Answer: Tosca