Longing libretto short. Puccini "Tosca": History of Creation and Great Performers of Both Plays and Operas

). The premiere took place at the Teatro Costanzi in Rome on January 14, 1900.

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✪ Shepherd Aisha Orynbasarova Opera Tosca 11.09.2014 Astana Opera

✪ Afterword to Tosca with correct Russian translation.

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Characters

History of creation

The play "Tosca" was written by V. Sardou especially for Sarah Bernard, and the actress was a huge success in it. The premiere took place on November 24, 1887 at the Porte Saint-Martin theater in Paris. Puccini saw the play at the Milan theater Filodrammatico. In a letter dated May 7, 1889, the composer instructs his publisher, Giulio Ricordi, to conduct all the necessary negotiations in order to obtain Sardou's permission to write an opera based on his work. The play aroused interest as a source for the libretto also from Verdi and Franchetti. The latter received the rights to write an opera and even began work. However, thanks to Ricordi, these rights eventually passed to Puccini. The composer turned to the new project for the first time in 1895 during a short break in work on the score of La bohème. L. Illika (1859-1919), who wrote the libretto for Franchetti, was joined by G. Giacosa (1847-1906). On January 13, 1899, in Paris, Puccini met with Sardou and obtained his consent to use the play. Later, the composer agreed with the author of the drama and some changes in the plot. Puccini insisted that all secondary details be removed, the plot was extremely simplified, and the action was accelerated as much as possible. The image of the main character has also undergone changes: from a diva who considered her love for a freethinking artist a sin, Floria Tosca turned into talented actress and a patriot of Italy.

The premiere took place at Rome's Teatro Costanzi on January 14, 1900. The parts were performed by: Hariclea Darkle (Tosca), Emilio de Marchi (Cavaradossi), Eugenio Giraldoni (Scarpia), Ruggero Galli (Ancelotti), conducted by Leopoldo Mugnone. Present in the hall: Queen Margherita, President of the Italian Council of Ministers Luigi Pell, Minister of Culture Baccelli, Pietro Mascagni, Francesco Cilea, Franchetti, Giovanni Sgambatti. At first, the opera was received without enthusiasm. She was reproached for the lack of originality of melodic ideas, repeating Puccini's previous discoveries, for naturalism, and the scene of torture was especially criticized.

On March 17, 1900, the premiere of the opera took place at La Scala. Conducted by Arturo Toscanini, the part of Tosca was performed by Darkle, Scarpia by Giraldoni, Cavaradossi by Giuseppe Borgiatti.

According to the libretto, the action of the opera takes place in June 1800. The dates given by Sardou in his play are more accurate: the afternoon, evening and early morning of June 17 and 18, 1800.

The action of the opera takes place against the backdrop of the following historical events. Italy has long been a series of independent cities and lands, in the center of the country was the Papal States. In 1796 french army under the command of Napoleon invaded Italy, entered Rome in 1798 and established a republic there. The Republic was governed by seven consuls; one of these consuls, Libero Angelucci, may have been the prototype of Cesare Angelotti. The French defending the republic left Rome, which was occupied by the troops of the Kingdom of Naples.

In May 1800, Napoleon again sent troops into Italy, and on June 14, his army met with the Austrian at the Battle of Marengo. The commander-in-chief of the Austrians, Melas, being confident in his victory, sent a messenger to Rome, but Napoleon received reinforcements in the evening and managed to win, and Melas had to send a second messenger after the first. After these events, the Neapolitans left Rome, and the French took possession of the city for fourteen years.

Act one

Angelotti, a republican escaped from prison, takes refuge in the Roman church of Sant'Andrea della Valle. He hides in the Attavanti Chapel, the key to which was left under the statue of the Madonna by his sister, the Marchioness of Attavanti. Without noticing the fugitive, a sacristan enters the church, who brings food for the artist Mario Cavaradossi who works here. Mario himself appears behind the sacristan: the painting with the image of Mary Magdalene is only half finished. Cavaradossi sings an aria Recondita armonia, where he compares the appearance of his beloved, the singer Floria Tosca, with the features of a saint. The sacristan leaves Mario. Angelotti, thinking that there is no one in the church, leaves the chapel and meets Cavaradossi, his old friend. Their conversation is interrupted by a knock on the door: Floria Tosca demands to be opened. Angelotti hides again. Tosca enters. It seems to the jealous beauty that Mario portrayed her rival in the portrait. Cavaradossi calms her suspicions, and they agree to meet in the evening at his place, after Tosca has performed at the Farnese Palace. Floria leaves. Cavaradossi, along with Angelotti, also leave the church - the artist decided to hide a friend at home.

At this time, news comes to Rome of Napoleon's defeat in northern Italy. On this occasion, the church prepares for a solemn service. Scarpia, the chief of police, who is in love with Tosca, appears. Together with the detective Spoletta, he discovered evidence that Angelotti was hiding here. One piece of evidence is a fan bearing the Attavanti coat of arms, which Scarpia used to arouse Tosca's jealous suspicions.

During worship, many people enter the church. While Te Deum sounds in honor of the victory over Napoleon, Scarpia remains in the church, he is completely absorbed in the insidious plan to send his rival Cavaradossi to the scaffold.

Action two

Farnese Palace. On the same evening, the victory over the French is celebrated here. Scarpia, in his office at the police station in the palace, hears the distant sounds of music and reflects on what happened during the day. With the gendarme Schiarrone, he sends a note to Tosca. Spoletta searched Cavaradossi's house, did not find Angelotti there, but found Tosca there. Cavaradossi is arrested and brought to the palace. His interrogation was unsuccessful. Tosca appears and Cavaradossi manages to secretly tell her that she must keep quiet about what she saw at his house. Scarpia sends the artist to the torture chamber.

Scarpia interrogates Tosca. She is calm, but only until the moment when she hears the screams of the tortured Cavaradossi from the cell. In desperation, she betrays Angelotti's refuge - he hides in a garden well. Cavaradossi is brought back to Scarpia's office. He understands that Tosca told everything. Unexpectedly, news arrives of Napoleon's victory at Marengo. Cavaradossi does not hide his joy. Scarpia gives the order to execute him the next morning. At the same time, he makes an obscene proposal to Tosca.

Tosca is completely confused and depressed by what is happening. Aria sounds Vissi d "arte. But for the sake of saving her beloved, Tosca agrees to sacrifice herself. Scarpia convinces her that he must create the appearance of preparations for the execution of Cavaradossi. He gives Spoletta the necessary orders and at the same time issues a pass for Tosca and the artist so that they can escape from Rome. However, when Scarpia turns to embrace her, Tosca stabs him with a dagger. She hurriedly leaves the palace, taking the pass with her.

Act Three

Sant'Angelo Prison Square. Cavaradossi is taken to the prison roof, where he will be executed. He's writing last letter Longing. The aria of Cavaradossi sounds E lucevan le stelle. Floria appears unexpectedly. She tells about the murder of Scarpia, shows her lover the passes and informs him that the execution will be false. Floria and Mario are sure they are saved.

Soldiers appear, led by Spoletta. Cavaradossi stands calmly in front of them. Shots are fired, Mario falls, the soldiers leave. Only now Tosca realizes that she was deceived by Scarpia: the cartridges were real, and Cavaradossi is dead. The woman, distraught with grief, does not hear that the soldiers have returned. Scarpia's death is discovered, Spoletta tries to delay Tosca. She throws herself from the roof of the castle down.

Opera in three acts. Libretto by L. Illika and D. Giacoza based on the drama by Sardou.

Characters: Floria Tosca, singer - soprano; Mario Cavaradossi, tenor painter; Baron Scarpia, chief of police - baritone; Cesare Angelotti, former governor of Rome - bass; Sacrificial - baritone; Spoletta, police informer - tenor; Schiarone, gendarme - bass; Shepherd Boy - mezzo-soprano; Jailer - bass; Investigator, prosecutor, officer - silent roles; soldiers, citizens, people.

The action takes place in Rome, in 1800.

Act one

Church of Sant'Andrea in Rome. Through one of the side doors, trembling with fear, in torn clothes, staggeringly enters Angelotti, the former consul of the Roman Republic, who escaped from imprisonment in the fortress. His sister, the Marquise Attavanti, hid the key to the family chapel, located in the church, under the statue of the Madonna. She informed the arrested Angelotti that in the event of an escape, he would take refuge in the Attavanti Chapel of the Church of Sant'Andrea.

Angelotti frantically searches for the key, finally finding it, unlocks the lattice door of the chapel and hurries to take refuge in it.

As soon as he is gone, an old sacristan enters, bringing food and work supplies for Cavaradossi. Soon the artist himself appears. He removes the veil from the picture, which depicts the penitent Magdalene. The prototype was an unknown blond woman seen by the artist during prayer. Then Cavaradossi takes out a medallion with a portrait of his beloved, Floria Tosca. In his soul lives two female images: a blond beauty who inspired his brush, and Tosca, beloved by him with all his heart.

As the old man leaves, the chapel door opens and Angelotti enters. He thought that the church was empty and looked at the artist with horror. Fear, however, is immediately replaced by joy: Cavaradossi is his old friend and colleague. And now the artist does not leave a friend in trouble. Their conversation, however, is interrupted by an impatient knock on the door: it is Tosca. The artist thrusts a basket of food into Angelotti's hands and pushes him into the chapel. The singer, who has entered, listens incredulously to Cavaradossi's explanation. She heard voices and thinks that there was a beautiful blond stranger, whose features are depicted in the painting by Cavaradossi. In the end, the artist manages to calm his beloved. She leaves. Angelotti and Cavaradossi continue to prepare for their escape.

Suddenly the church shudders from a cannon shot. It was in the fortress that Angelotti's escape was discovered; with a cannon shot, the guard announces that a fugitive is hiding in the city. There is no time for discussion.

Cavaradossi makes a quick decision: he gives Angelotti the key to his country house and advises in case of danger to hide in the depths of the garden well. Angelotti would like to change again, but Cavaradossi is afraid of losing time. He himself escorts a friend to ensure the safety of the escape.

The priests are preparing for a solemn service on the occasion of the defeat of Napoleon. The sacristan calls the people to church.

The almighty chief of the Roman police, Baron Scarpia, enters the church: here, in the church, the threads of searches lead; apparently, the fugitive Attavanti took refuge here. The sacristan finds an empty provisions basket in the Attavanti chapel, one of the detectives finds a fan with the Attavanti coat of arms, and the police chief recognizes in the person of Magdalene the features of the Marchioness of Attavanti. Now everything is clear to him: a free-thinking artist, an "enemy of the state", and the Marquise Attavanti, the fugitive's sister, helped Angelotti escape from the police. The investigation is still ongoing when Tosca returns to the church. She wants to inform Cavaradossi that she will come later tonight, as she is forced to sing at the celebration of the victory, but is surprised to find that the artist is no longer in the church. Jealousy flares up again. And Scarpia still kindles her suspicions: he has long been accustomed to a beautiful singer.

The church is filled with parishioners. The solemn service begins. During the ceremony, Scarpia gives the order to watch Tosca, for her steps will probably lead to Cavaradossi, and then to Angelotti. The chief of police bows his head before the cardinal, who is marching through the church, but his thoughts are occupied with Tosca: he hopes, with the help of the singer, to track down the artist, and make her herself his mistress.

Scarpia made a decision: he will execute the revolutionaries and get Floria Tosca for himself.

Action two

Palazzo Farnese. Scarpia is waiting for his detectives. In the chapel of the palace, the rulers celebrate their victory, Tosca also takes part in the celebration. The police chief sends a note to Tosca asking her to come to him after the party.

Scarpi's detectives arrive and report that they have searched the Vacation home Cavaradossi: They didn't find Angelotti. Just in case, they took Cavaradossi with them, apparently knowing where his friend was hiding. While Scarpia and his henchmen are interrogating the artist, Tosca's "hymn of thanksgiving" is heard from the chapel.

The artist denies everything. Tosca enters, whom Cavaradossi warns with a gesture: be silent, do not talk about anything.

Scarpia sends the arrested man to the torture chamber, then begins to interrogate Tosca. The singer is silent, but the groans of Cavaradossi are heard louder and louder from the torture chamber, and she can not stand it. A woman in love gives away Angelotti's whereabouts.

The goal has been reached. The police chief gives the order to stop the torture. They introduce a tortured, bloody artist, who immediately becomes clear that Tosca has achieved his release at a terrible price: she betrayed Angelotti. He angrily pushes away the woman he loves.

At this moment, a messenger bursts into the room with the news of the secondary battle near Marengo: Napoleon won, he defeated the Austrian army. Cavaradossi, who could not even be forced to confess by torture, this time betrays himself. He cannot hide his joy.

Scarpia orders the artist to be taken to prison and shot at dawn.

After a tragic internal struggle, Tosca accepts the offer.

But the chief of police does not intend to fulfill the agreement. Instead of releasing the artist, he promises Tosca that during tomorrow's execution, the soldiers will shoot with blanks, Cavaradossi's business is only to play the comedy of execution. To avert Tosca's suspicions, he immediately gives the order: “Instead of a block, a bullet! Just like in the case of Palmieri!” Tosca thinks these words refer to blanks. But Spoletti, Scarpia's henchman, understands that the words of the chief of police mean death. Scarpia graciously agrees to give even a passport for lovers.

While he is writing his passport, Tosca discreetly hides a knife that has been prepared on the dinner table. When Scarpia, with a ready passport in his hands, approaches Tosca, trying to hug her, she kills the villain with a knife.

Scarpia falls soundlessly to the floor. Tosca runs away. But she is forced to return from the threshold: the passport remained in the hands of the dead man.

Trembling, she returns and takes out the saving paper from her dead fingers - then she places candles at the head of the corpse ... and brings the release of Cavaradossi!

Act Three

Platform on the tower of the fortress.

It's getting light. Through a veil of fog in the distance, the outlines of the city appear. From somewhere, the ringing of the bells of the flock is heard, then the song of the shepherd and the ringing of the bells of Rome are heard.

Cavaradossi is taken out of prison. His last request: he wants to write a few lines to his beloved. The artist gives his only ring to the jailer and he nods: let him write...

Pero Cavaradossi uncertainly concludes:

The stars were burning, the night was fragrant...
The door quietly opened.
I heard the rustle of clothes.
Beloved came in and fell on my chest ...
Oh sweet memories
Hugs, caresses and passionate kisses,
Like light smoke, everything disappeared so quickly...
My time has come and now I'm dying...
But never have I been so thirsty for life.

Tosca appears and, all glowing with joy, informs her beloved that the execution will be only an appearance. She instructs the artist: when a volley is fired, he must fall to the ground - after the executioners leave, the passport issued by Scarpya will open the way to freedom for them. The convoy passes.

Longing hides behind one of the columns, watching the tragic scene from there. A volley is heard - Cavaradossi falls. As soon as the soldiers leave, Tosca calls him quietly and sees with horror that his beloved is dead. Sobbing, she falls on his corpse. Noises and voices are heard: the corpse of Scarpia is found, they are looking for the killer. Longing, without waiting for the pursuers, rushes down from the height of the fortress tower.

Opera "Tosca" summary which is the subject of this article, is one of the masterpieces of the famous Italian composer G. Puccini. This famous piece of music is one of the most popular musical performances. Many theaters around the world regularly stage this opera. A dynamic plot, dramatic intrigue, strong strong-willed characters provided this creation of the composer with immense popularity, which continues to this day. It is significant that episodes of some films take place against the background of scenes from this performance.

Brief description of the composer's work

Giacomo Puccini is one of the most famous Italian composers. Many of his operas are still regularly staged at the world's leading theater venues. He was the largest author after Verdi major works. At the same time, he differed from his famous predecessor by his commitment to a new direction in art - verismo. This style assumed an emphasis on socio-psychological conflicts between characters.

This determined the features musical works composer ("La Boheme", "Manon Lescaut" and others). He believed that the melody and the action on the stage should be inextricably linked, so there are no overtures in his compositions that are performed without a stage performance. The music in Puccini's operas sounds like a continuous stream, without the transitions that separated musical numbers in the works of his predecessors. Such innovation did not immediately meet the understanding of not only the public, but also professional critics. However, many of them already noted the boldness of the composer's musical decisions, his original, incomparable style, which influenced subsequent authors (I. Kalman, I. Dunaevsky and others). The composer's works are notable for their vivid drama and complex orchestration, so not all singers can sing to his music. Despite the originality of many of the author's findings, he borrowed a lot from his predecessors, primarily from Verdi (dynamic plot, drama).

Basis of history

In 1900, the opera Tosca was written. The summary of Puccini's new masterpiece is based on the once popular play by V. Sardou. Other composers also became interested in this drama, including the famous G. Verdi. However, after long negotiations, it was Puccini who received the right to use the plot of the work in his new opera. The libretto was created by C. L. Illike and J. Giacoza. The author, however, did not accept the play in original form. At his insistence, the text of the work included significant changes. The plot of the drama was greatly simplified; minor lines were cut, all attention was focused on the three main characters that formed love triangle. The opera "Tosca", a summary of which is interesting not only from a dramatic, but also from a historical point of view, was not immediately appreciated. The author was reproached for the repetition of musical numbers and the naturalism of the scenes (primarily we are talking about the episode of torture of the protagonist). But over time, the work gained immense popularity in the music world.

Historical background of the action

The opera "Tosca", a summary of which should be characterized in the context of the history of the early 19th century, is distinguished by a dynamic and dramatic plot. The action takes place in June 1800 at the time of the attack of the Napoleonic armies on the Italian Republic, occupied by the troops of the Kingdom of Naples. This background allows you to better understand the motives and actions of the characters. characteristic feature this work is a close relationship love line with the political. Giacomo Puccini masterfully inscribed the main intrigue in the context of the era.

Introduction

The opera begins with a very dynamic moment: a supporter of the republic, supporter of Napoleon Angelotti, flees from the castle and hides in the Roman church where he works main character, talented artist Mario Cavaradossi. From his opening aria, the viewer learns about his love for the famous opera singer Floria Tosca.

His gentle melodic song contrasts sharply with the disturbing melody of the former Roman consul, who turned out to be his old acquaintance and comrade. Both meet, and from a short, abrupt dialogue, the viewer learns that the artist sympathizes with the republican cause. He offers Angelotti help: he gives him food and shelter in his country house. Their conversation is interrupted by the appearance of the main character. Puccini's opera "Tosca" is full of drama and dynamism of action. The young singer immediately reveals her very difficult character.

She is jealous, suspicious, but at the same time, passionately, almost madly in love with Mario. The latter hides his secret from her. Both sing a wonderful love duet and arrange a meeting in the evening. Their joint number shows the viewer the depth of feelings of these heroes and at the same time, as it were, foreshadows the tragic denouement of the action.

Development of action

The opera Tosca, whose libretto is based on a play by Sardou, is notable for its rapid, almost impetuous development of the action. Immediately after the departure of the heroine, Mario helps Angelotti to leave the temple unnoticed.

After this scene, Scarpia appears - the main antagonist in the play. He is chief of police in Rome; he is also in love with the main character and strives with all his might to win her over. He guesses that the fugitive was hiding in the church and decides to track him down using Tosca's jealous temper.

The plot of intrigue

When the latter returns, Scarpia hints to her about the possibility of Mario's infatuation with another woman. These words lead the heroine to despair, and she rushes to the artist's country house to verify her suspicions. Scarpia orders to follow her, no doubt that the one he was looking for is hiding in this shelter. At the same time, Scarpia understands that he has an opportunity to accuse Mario of treason and sentence him to death for harboring a Republican rebel. The finale of the first act turned out to be very difficult. musical performance"Yearning". The plot of the opera is built on the principle of contrast. At the end of the act, chants are heard in honor of the victory over Napoleon's army. At this time, Scarpia plots to destroy his opponent.

Second act

The second act opens with a scene in the palace of the chief of police. He sings his famous aria, which reveals him as a proud, proud, arrogant person. Scarpia sings that he enjoys torturing his victims not only physically but also psychologically. This aria is, as it were, an introduction and explanation of that terrible scene that followed later. The author of the opera "Tosca" skillfully built the action on the contrast: the gloomy ominous aria of this negative character sounds almost at the same time celebratory performance the main character in the palace. The guards then bring in the arrested Mario. He was detained on suspicion of harboring Angelotti. However, Scarpia does not have direct evidence of the artist’s guilt: the fugitive managed to hide in a secret well, and the guards did not manage to find him. Then the chief decides to use the affection of the main character in order to extort from her the whereabouts of the escaped prisoner.

Hero Confrontation

The opera “Tosca” is distinguished by a particularly sharp drama. The composer Puccini in this work demonstrated extraordinary talent author of psychologically intense music.

The action of the play takes a new direction with the appearance of the main character. Scarpia orders her lover to be tortured, seeking confession from the jealous singer. The latter, as the police chief expected, visited the artist's house and learned the secret of Mario. The police chief orders the prisoner to be tortured, and Tosca, unable to bear the sight of her lover's torture, reveals the secret of the fugitive's whereabouts. Then Scarpia orders the arrest of Angelotti and signs the order to shoot Mario. However, in response to the requests of the heroine to spare Mario, he promises to save him by staging a mock execution, but in exchange he demands one date from Tosca.

climax

At this moment one of best arias in the opera performed by the heroine: she laments her fate and gives in to despair because of the tragedy that has unfolded. It is indicative that the composer himself initially did not want to include this number in the performance, since, in his opinion, it slowed down the dynamic action of the performance, but the aria turned out to be so good that it was eventually inserted and eventually became famous: many famous singers perform it in concert performances.

Tosca agrees to Scarpia's condition, receives a pass to leave the country, after which, in a fit of anger and indignation, he kills his tormentor.

The final

At the beginning of the last act, famous aria Mario, in which he, sentenced to death, says goodbye to his life and mourns for his beloved. This number is one of the most heartbreaking in the world operatic repertoire, just like the above aria of Tosca, it can often be heard in concert performances.

Then the heroine appears and informs her lover about her crime, and also dedicates him to the details of the plan for staging the execution. Both sing a duet, remarkable in its expressiveness, in which they express hope for a future bright life. Then follows the execution scene, which reveals all the deceit of Scarpia: the latter ordered the real execution of Mario. The heroine, seeing her lover dead, throws herself down from the tower. The opera "Tosca", reviews of which at the beginning of its productions were not very positive, is currently considered to be a masterpiece of the world musical theater. The best sopranos and tenors dream of singing in the parts of this performance. Numbers from this piece by Puccini are often included in concert programs leading world performers.

G. Puccini opera "Tosca"

As the basis of the libretto for his opera Tosca, G. Puccini chose play of the same name V. Sardu. This great story love and betrayal, robed Italian composer into the opera genre, for more than a century it has not ceased to stir the hearts of people around the world. The performance was so loved by the public that today it is the most repertoire in the world.

Summary of Puccini's opera "Tosca" and many interesting facts read about this work on our page.

Summary

The plot of the opera takes place in Rome at the very beginning of the 19th century. In the center of the whirlpool of events is the love of singer Flora Tosca and artist Mario Cavaradossi.

Trying to save his friend, once the Roman consul Cesare Angelotti, from persecution, the artist Cavaradossi hides him in the well of his country house. Police Chief Scarpia guesses where the criminal is hiding. To capture him, he follows Mario's lover Flora Tosca, who leads him to the rebel hideout. But instead of a prisoner, an artist goes to prison. To save her beloved from torture, the girl has to give away Angelotti's hiding place. But the merciless chief of police orders to kill Cavaradossi as well. Flora can save him if she gives the villain her love ... She has no choice but to agree to this step. But the policeman is not going to save the artist, he just "pretends" that the execution will not be real. Having received documents from Scarpia to escape, Tosca kills him.

With the onset of dawn, Flora runs to her lover and talks about the upcoming escape. And he also asks to fall “like an actor” when he hears the shooting of “idle”. The soldiers raise their weapons, a shot rumbles, Cavaradossi falls. The girl rushes to her beloved, because the staging is over, and they are free! And only when he sees the bloody body, he understands what really happened. Meanwhile, the soldiers are already running towards the killer Scarpia. Longing is doomed...

Interesting Facts

• Tosca is an opera with one of the most unusual premiere stories. The first performance of the play made a lot of noise. It all started with theater Hall filled with police. Someone reported that a bomb had been planted in the hall. After her unsuccessful search, the performance still began. As soon as the first chords of the orchestral introduction struck, screams were heard in the hall. Their cause was not the threat of an explosion, but the violation of the Roman theater tradition: in the city it was customary to start performances late. The audience gathered just with this calculation, and this time the conductor started the opera on time. The spectators who had just arrived were indignant and demanded to start the performance over again. The conductor and soloists had to make concessions. Well, what else can you do!
• In one performance, in the scene of Tosca's fall from the fortress wall, mattresses and pillows were replaced by a trampoline, and before the curtain closed, the singer managed to fly over the wall several times.
• Austrian singer Leoni Rizanekpela sang the Tosca prayer on her stomach. She also did not believe that Tosca could hide the knife in advance, and in the versions of the performance with this singer, a glass of wine was broken, and a shard was stuck in Scarpia's neck.
• Montserrat Caballe has entered the Guinness Book of Records as the only singer to perform the last four notes of the Vissi d'Arte prayer in one breath.
• Ramon Vinay became famous for starting his career as a tenor and ending as a bass player. In the opera Tosca, he performed the parts of both Cavaradossi and Scarpia.
• According to biographers Puccini, V. Sardu's consent to use his work for the basis of the libretto he received thanks to music - the composer performed fragments of his operas for the playwright, and the music captivated him.
• One of the librettists insisted on changing the ending. He offered to abandon the death of the main character and replace the scene of her fall from the roof of the castle with madness. But the playwright did not succumb to persuasion: the girl should rush down from the parapet of the Castel Sant'Angelo. He called the main argument of such a finale the following - it is not good to detain the viewer with a scene of madness before the very end of the performance. And then the maestro intervened in the dispute - he took his copy of the libretto, opened the final scene and showed those present his mark "aria of the coat." So he called the final number, which not all spectators will hear - after all, by this moment most of them will leave the hall and rush to the wardrobe for outerwear. This greatly amused Sardu, and he entrusted the processing last scene to the composer, whom he called "a man of the theater", who knows the preferences of the public better than others.
• The audience reacted rather coldly to the first production of the opera. One of the reasons for such a reaction was called non-original melodies and .... sound and stage sadism. In this case, the audience did not like the scene of torture.
• Puccini by all possible ways tried to convey in his work the atmosphere of Rome early XIX century. Especially for this, with the help of the minister of the temple, Don Panichelli, in his opera brainchild, he recreated the authentic sound of the bells of St. Peter's Cathedral.
• In one of the performances, the role of Cavaradossi was sung by the great Enrico Caruso. The composer's acquaintance with this genius was very interesting. Puccini had absolutely no idea of ​​his vocal abilities, and therefore asked to sing. As soon as Caruso completed the performance of the first aria of the hero, the maestro asked who sent him to him, was it not the Almighty himself?
• In the 20th century in Russia, the opera Tosca was performed under the title The Struggle for the Commune. For the creation of the great Italian, a new libretto was written, its authors were N. Vinogradov and S. Spassky. The action was moved to France late XIX century, where the main characters were a revolutionary and a communard.
• Due to the specifics of the plot, "Tosca" is often used in various works related to the work of special services and detectives. Among the most famous films, where this work is mentioned or music from it sounds - "Deja vu" (1989, dir. Y. Makhulsky), "Surrogates" (2009, J. Mostow), "Pink Doll" (1997, V. Olshvang), "Stalingrad" (2013, F. Boncharchuk), "22 bullets. Immortal" (2010, R. Berry), "Method" (2015, Y. Bykov). It is curious, but the plot twists and turns of the immortal operatic masterpiece are very organically woven into quests and some computer games, such as "Hitman: Blood Money" (2006).

Popular arias

Aria Cavaradossi "E lucevan le stelle" - listen

Baron Scarpia "Va Tosca! Te Deum" - listen

Aria - Tosca's prayer "Vissi D" arte" - listen

Aria Cavaradossi "Recondita armonia" - listen

History of creation

The play “Tosca” by V. Sardou was written specifically for one of the most outstanding actresses in the history of the theater - Sarah Bernhardt. G. Puccini got acquainted with this performance in the Milan theater in 1889, and at the same time he had the idea to write an opera based on this work. However, in those years he was only a novice composer, and therefore did not particularly count on attention from the famous playwright. That is why Puccini entrusted all negotiations with the author of the play to his publisher Giulio Ricordi. But everything was complicated by the fact that the maestro was not the only one who wanted to write an opera based on the plot of "Tosca" - they became interested in the play as a source of libretto G. Verdi and A. Franchetti. As a result, the honor of creating the opera fell to the latter, but thanks to the strong recommendations of Ricordi, he had to abandon this venture.

Puccini began to work directly on the opera only in 1896. At this time he was already well known, his operatic creations " Bohemia" And " Manon Lesko"have already had considerable success. Now the composer already highly appreciated his chances of favoring Sardu. And indeed, he managed to hold several fruitful meetings with him. L. Illika and J. Giacosa were engaged in writing the libretto, the composer himself did not miss the opportunity to work on the plot He held active negotiations with the author and insisted on some changes in the plot - for example, he sped up the action, reduced some secondary storylines and made changes to the fate of the main character. The opera was finished in autumn 1899.

Summary

Act I
Monarchic Italy in 1800. Early in the morning, when the church of Sant'Andrea in Rome is still closed to the faithful, political prisoner Cesare Angelotti, who has escaped from prison, secretly sneaks into it. Here, in the family chapel of his sister Marquise Attavanti, women's clothes are hidden, in which he must change clothes and flee from Rome from the persecution of the head of the Roman police, Baron Scarpia.

The artist Mario Cavaradossi works in the church, he is served by a sacristan. Cavaradossi draws the penitent Magdalene, but the sacristan is surprised to notice in her a resemblance to the Marquise Atta-vanti, who prayed yesterday in the temple. When the sacristan leaves, Cavaradossi sees Angelotti hiding in the church. He wants to help the fugitive, but he is hailed by Floria Tosca, a famous singer and lover of the artist, who has come to the church. She came to arrange an evening meeting with Mario: today, after the performance, they will be able to spend the evening in their new home. But Cavaradossi's absent-mindedness arouses Tosca's jealous suspicion. Jealousy turns into confidence in treason, when Tosca recognizes Marquise Attavanti in the Magdalene, which Mario draws. The artist hardly manages to calm Tosca and persuade her to leave.

Cavaradossi returns to Angelotti and offers him shelter in his house, where, in case of a chase, you can hide in a well near the garden. A shot from the prison cannon is heard announcing Angelotti's escape. Cavaradossi urges the fugitive to leave the church through a secret passage and volunteers to take him to his home.

Roman policemen burst into the temple - fees, Scarpia comes for them. The criminal can only hide here. Collectors search the church. Scarpia asks the sacristy if he has seen Angelotti. A frightened sacristan discovers irrefutable evidence of the presence of an outsider in the temple: the door to the Attavanti chapel is open, and Cavaradossi's breakfast basket is empty. He knows for sure that Cavaradossi refused to eat. Scarpia guesses that Cavaradossi helped the criminal escape.

Tosca returns to the church, jealousy torments her. Scarpia decides to use the singer's temper and suspicion. He shows her a fan with the coat of arms of Attavanti, which Angelotti dropped from a bundle of women's clothing, left by his sister, and hints that it was with the marquise that the artist left. Tosca, in desperation, rushes to Mario's house to convict him of treason with Attavanti. Scarpia sends a sbi-ditch for her. Longing will lead them to the fugitive. Now Angelotti is in his hands, but Scarpia has another goal - to send Cavaradossi to prison. After all, then Tosca - Scarpia's old passion - will be in his hands.

Act II
Scarpia's study on the top floor of Palazzo Farnese. The Baron is waiting for Tosca. She should come immediately after she sings a solemn cantata at the ball in honor of the victory of the Italian army over Napoleon. Spolet, sent to follow Tosca, enters the office. He reports that Tosca was not long in Cavaradossi's house, Angelotti's criminal was not found there, but the police arrested the artist himself.

Interrogation of Cavaradossi yields no results. Tosca Cavaradossi also tells him not to tell anything. Scarpia gives the prisoner to the executioner. The groans of Cavaradossi force Tosca to betray the secret entrusted to her by the artist. She tells Scarpia that Angelotti is hiding in a well in Cavaradossi's garden. Scarpia sends Spoletta for Angelotti. But at this time, Chiarone comes with the news that the triumph is premature: in the battle of Morengo, Napoleon's troops utterly defeated the Italian monarchists. Cavaradossi does not hide his joy. Enraged Scarpia gives the order to imprison the artist.

Tosca begs the baron to release Cavaradossi. Scarpia, enjoying her grief, promises to pardon the artist if Tosca becomes his mistress. The salvation of the beloved is now the only thing dear to Tosca - she agrees.

In return, Scarpia orders Spoletta to shoot Cavaradossi with blanks during the execution - when the soldiers leave, Tosca and Cavaradossi will be able to flee. Scarpia gives Tosca a pass that will help them cross the border unhindered. But when Scarpia, with open arms, goes to Tosca, she plunges a dagger into his chest.

Act III
Sant'Angello Prison, where Cavaradossi is imprisoned. An hour later, his execution. Mario writes Farewell letter Tosca and asks the jailer to hand it over to the singer.

Tosca runs. She shows Cavaradossi the pass received from Scarpia and says that his execution will not be real: having heard the shots, he must fall, and after the soldiers leave, they will run away. Cavaradossi tries to believe this and he himself calms down his lover, exhausted by the experience.

The jailer comes for the artist. A volley rumbles and Cavaradossi falls. The soldiers leave. Tosca rushes to Cavaradossi, but he does not respond to her call. He is dead. Scarpia's order to fire blanks was a lie.

Chiarone, Spoletta and the fees run into the prison yard. Scarpia's murder is solved, but Tosca won't let them capture him. She throws herself down from a high tower.

From the history of creation

The premiere of the opera "Tosca" took place on January 14, 1900 in Rome at the Teatro Costanzi. The audience was successfully shown a new work by Giacomo Puccini, the author of the already recognized operas Manon Lescaut (1893) and La bohème (1896). Eleven years earlier, in Milan, the thirty-year-old composer saw the great tragic actress of France, Sarah Bernhardt, in Tosca, a play based on a play by their contemporary French playwright Victorien Sardou. Intoxicated by the “divine Bernard,” Puccini wrote to his publisher Giulio Ricordi: “I’m thinking about Tosca! I beg you to go through all the necessary formalities to get Sardou’s permission before you leave this idea, which would upset me very much, because it was in” Tosca "I see an opera for myself - not an excessive size, not a magnificent performance; this is not the kind of plot that could give place to the usual musical excess." In his Tosca, Sardou succumbed to the fashion for historical plots and turned to the events actually taking place in Italy in 1800. The playwright decided to act on the principle of which Victor Hugo wittily remarked: "History is the nail on which I hang my picture." In contrast to Sardu's pseudo-monumental canvas, framed by a pompous frame, Puccini created a refined and heartfelt work, making a dramatic break in fate the center of the composition. famous singer Floria Tosca and her lover, artist Mario Cavaradossi.

Puccini began work on the score of "Tosca" only in July 1898: difficulties arose with the intractable Sardou, work on the libretto dragged on. There is an anecdote according to which, during the discussion of the libretto, the creators of the opera could not come to a consensus regarding the final catastrophe. Illika wanted to replace Tosca's suicide with a scene of her madness. And Sardu insisted that main character threw herself from the parapet of the Castel Sant'Angelo: after all, it is not decent to delay the viewer with a scene of madness at a moment when he already understands that the performance is about to end. Then, according to legend, Puccini discovered on last page his copy of the libretto and showed him the note he made: "This is the aria of the coat" - that is, that part of the work that few will hear, since the majority will already hasten to the wardrobe. Cheered, Sardou admitted: "You, maestro, are a man of the theater." The maestro was well versed in the preferences of the public and, for which he was often criticized, did not consider it shameful for himself to follow them.