Tosca 'lived for art and love'. And died victim of power, lust, trickery and evil. She 'never did harm to a living soul', was deeply religious and innocent. But she was defeated by politics, misogyny, deceit and brutality.
'Vissi d’arte' is addressed to her God, 'In the hour of grief, why, why, o Lord, ah, why do you reward me thus?' To me, it's the watershed, the turning point of the opera. Her God has failed her, her life of good unrewarded, and Tosca changes. Compare performances by Tebaldi and Callas, here. And here's Sonia Yoncheva singing 'Vissi d'arte' - before she kills the man who God hasn't saved her from.
This is highly complex dramatisation of the rival faces of religion - personal faith as guidance for life, and religion propping power, religion manipulated as a tool for authoritarianism and oppression. Immediately after the plea to her God, the diva murders the evil Baron Scarpia, the chief of the Secret Police, who symbolises a combination of religious and political authority but wears it as a disguise to cover his brutality and lust. (He closed the previous act, in the beautiful church, singing over the 'Te Deum', 'Tosca, you make me forget God!') Puccini instructs that she places candles and crucifix by the body.
As Tosca thrusts a knife into Scarpia, she exclaims: ‘Questo è il bacio di Tosca!’ (‘That is Tosca’s kiss!’). Her blade severed not only the life of her sadistic assailant, but also – at least for some critics – a particular image of Italian opera as idealised, poetic entertainment. ‘In Tosca, all is black, tragic, terrible,’ wrote critic Alfredo Colombani in the Corriere della sera
following the opera’s first performance on 14 January 1900. By the end of the work, all the major characters are dead: its body count includes two suicides, one murder and an execution.
And if you have time and interest to pursue the themes of religion and ethics, go here.
Betrayed by Scarpia's duplicity, and seeing her lover shot, Tosca commits a final crime against her religion, killing herself by leaping from the walls of Rome's Castel Sant’Angelo.
And her final line? 'Scarpia, we meet before God!'
One of the most popular operas - why?
The members of this course, like any opera goers, have visited Puccini - and Tosca - many times. For those who don't know the opera, there are countless essays, synopses and discussions online. No, you don't have to read them to explore the opera. But it's fascinating how differently essayists and directors place the messages in this opera. If my above account above of the action isn't sufficient, try this one. Or this one.
And there's a very good synopsis here.
But while we've visited the popular moments in this opera, we've never played it through - and for one of the most famously through-composed dramatic operas, that's essential. The wonderful love duet, ('Mario, Mario' she calls at her entrance, 'I'm here' is his loving two note response) - here are Caballe with Carreras) makes sense only in the context of the gently humourous scene in the church where Tosca spars with her lover over the subject of his painting. 'Vissi d'arte' only makes sense when you've followed her winding way between being a famous diva and bringing flowers to the Church. And the final aria for Mario Cavaradossi, facing death, is brief, unbalanced, so different from the classic aria form. "E lucevan le stelle" ("And the stars were shining") is a gem of dreaming memory of times we haven't seen them together. 'I die in desperation!' he finishes, 'And I never before loved life so much, Loved life so much! (Here's Kaufmann in an amazing lockdown concert performance 2020 .)
We've also never asked this term's question - why is this complicated, dark opera so popular?
For those who want to (re)visit our earlier posts, here are some posts from 2020.
About this opera! This is the most realist of operas, set in Rome with fine detail by Puccini for the scenes.
And about perhaps the most perfectly evil operatic villain, Scarpia?
A new sort of opera
This is an extraordinarily modern opera for its departure from the romantic formality of earlier opera forms and for the issues it raises. It's set in historical place and time - Rome in 1800, post-revolutionary societal turmoil, and anticlericalism. The entire story takes place during the afternoon, evening and early morning of 17 and 18 June 1800, following the Battle of Marengo between Napoleon’s army and Austrian forces. It's tight, brief, racing and loaded with tension, powered by extraordinary music.
It's woven in musical and dramatic forms nearer to those of Wagner than Verdi. It doesn't even have an overture, let alone a ballet! And there's no lingering final duet of the soprano and tenor before their deaths. (Puccini was pressured to write one, but stuck to the drama - they don't think they are dying, so just get on with what we know is the mock execution.
Nineteenth-century operas, like those of Verdi, were organized as a series of scenes. Each scena was basically a five-part closed form, with a beginning, a middle and an end. These were strung together to build acts and to provide opportunities for the public to applaud the artists... But by the last two decades of the 19th century, that form had run its course. It was expanded and replaced by an uninterrupted dramatic and musical flow, making the much longer act the essential unit.
Puccini's operas are a long way from the bel canto operas of Rossini, Donizetti and Bellini. There is even a considerable difference from those of Verdi, even though Puccini had written five operas before the death of his illustrious predecessor.
Richard Wagner's influence on Puccini cannot be overstated. The Wagnerian principles of continuous uninterrupted acts, the clarity of text, the avoidance of ensembles and chorus that would blur that text were not lost on him. He drew inspiration from the dominant and dominating role of the orchestra in Wagner. But Puccini's music has its own voice. For his texts, he abandoned two centuries of tradition (in both Italian opera and in Wagner) by turning away from poetry; the libretto is now pure prose. He was a sponge, soaking up all of the newest trends from the rest of Europe, from France, Germany and Austria, as well as his native Italy. More here.
There's a splendid exploration of the opera and its musical themes by James Conlon of LA Opera here. (Thanks to Bernard for this link.)
A full opera version for your own viewing?
Here's what's often described as the Best Tosca Ever - a 1976 movie version. Floria Tosca is played by Raina Kabaivanska, her artist lover, Mario Cavardossi, by Placido Domingo, and the baritone villain, Scarpia, by Sherril Milnes. A good use for a hot afternoon! (The film lasts just under 2 hours.)
And our production? This time, we'll be watching the 2012 ROH performance, Angela Gheorghiu as Tosca, Jonas Kaufmann as Cavaradossi and Bryn Terfel as Scarpia.
Lyn, 6/3/24