Act One. The church of Sant’Andrea della Valle.Angelotti, an escaped political offender, seeks refuge in the church of Sant’Andrea della Valle where his family has a chapel. His sister, the Marchesa Attavanti, while praying for his release, has unwittingly served as a model to the painter, Mario Cavara-dossi for his portrait of the Magdalen. Just a moment before asacristan enters (followed shortly by Cavaradossi), Angelotti conceals himself in his family’s chapel; the sacristan assists the painter washing his brushes. Cavaradossi stops his work for a moment, takes out a medallion in his pocket: this medallioncontains a miniature of Tosca’s photo. He makes a comparisonbetween Tosca and the model he was portraying (Reconditaarmonia – “Concealed harmony”). The sacristan makes acontrocanto (Scherza con i fanti e lascia stare i santi - whichbecame a proverb: play with servants but respect saints), then leaves Cavaradossi alone to paint. When the sacristan leaves, Angelotti comes out of his chapel. Cavaradossi is his friend and political ally. Angelotti begins to tell of his escape from Castel Sant’Angelo (papal Roman prison) but the arrival of Toscainterrupted their conversation (Tosca : Mario! Mario! Mario!). Cavaradossi gives Angelotti some food and helps him return to hide in the chapel.Floria Tosca is a singer, and she goes to the church to invite Mario Cavaradossi (her lover) to meet her after her performance in the evening. However, Tosca is unreasonably jealous, and her suspi-cions have been aroused, having heard Cavaradossi’s speaking to someone upon her arrival. She imagines an intrigue with a wom-

an, and her fears are apparently confirmed by the portrait of Mary Magdalene. She says that the blue-eyed model looks very familiar. Finally, Tosca realizes Mario has used Marchesa Attavanti as the model, but Mario assuages her suspicions. Tosca has brown eyes, whereas the woman in the portrait has blue.(Qual occhio al mondo – “What eyes in the world can be compared to your eyes”). Tosca, her jealousy abated, leaves, but not before playfully insisting he make the Magdalene’s eyes dark, like hers.Angelotti reappears, and his escape is planned: Angelotti will don woman’s attire (that his sister had hidden in the altar) and flee to Cavaradossi’s villa; if necessary, Angelotti will hide in the well. Cavaradossi swears, even if it costs him his life, he will save Angelotti from the wicked Scarpia (La vita mi costasse, vi salveró – “Even if it costs me my life, I’ll save you”). A cannon shot from the fortress (Castel Sant’Angelo) warns that his escape has been discovered and compels him to flee; the painter exits the church with him.The sacristan returns surrounded by a laughing crowd of choir boys and acolytes. (Sacristan, chorus: Tutta qui la cantoria! – “All here, into the choir loft”) They falsely believe that Napoleon has been defeated and are there to sing a thankful Te Deum, when Scarpia, chief of police, arrives with Spoletta and some of his men in search of the escaped prisoner. In the Attavantis’ chapel Spoletta finds the fan of the Marchesa and the painter’s basket emptied of food and wine. Scarpia threateningly asks the sacris-tan about this, but the latter maintains that Cavaradossi did not have the key to the chapel and had not expressed any interest in

Floria Tosca, a celebrated singerMario Cavaradossi, a painter

tosca(Opera in 3 acts – Music by G. Puccini – Libretto by G. Giocosa and L. Illica)

Main Characters:

Scarpia, Chief of PoliceCesare Angelotti, former Consul of the Roman RepublicSpoletta, a police agent

Synopsis:

Floria Tosca, a celebrated singerMario Cavaradossi, a painter

tosca(Opera in 3 acts – Music by G. Puccini – Libretto by G. Giocosa and L. Illica)

Main Characters:

Scarpia, Chief of PoliceCesare Angelotti, former Consul of the Roman RepublicSpoletta, a police agent

Trama:

the food. Scarpia shrewdly concludes that Cavaradossi is connected with Angelotti’s escape. Tosca returns to explain to Cavaradossi that she must perform in the celebration of cantata and will not be able to meet him. Finding thatCavaradossi has left, she begins to feel suspicious.Meanwhile the church fills up and a Cardinal prepares for the Te Deum. Scarpia arouses Tosca’s jealousy by producingAttavanti’s fan, and she departs in anger. Ordering his agent to follow her (Tre sbirri, una carrozza – “Threepoliceman, a carriage”), he passionately avows his lovefor the singer, then kneels devoutly in prayer. (Scarpia:Va’ Tosca, nel tuo cuor s’annida Scarpia – “Go, Tosca, in your heart is nesting Scarpia”; Chorus: Adiutorium nostrum“My help is in God’s name”; Scarpia: A doppia mira tendoil voler – “At two goals I aim my desire”).

Act Two. Scarpia’s room at Palazzo Farnese (now the embassy of France). Scarpia is dining alone while celebra-tions are heard outside. He sends a servant to give a note to Tosca to invite her to join him when she finishes with her recital. Cynically he sings of pleasure (Ella verrà per amor del suo Mario – “She will come out of love for her Mario” and Ha più forte sapore la conquista violenta – “The violent conquest has a stronger flavor”) presuming she willsurrender to his power. Spoletta, his agent, enters with

Cavaradossi in custody but without Angelotti, who has eluded him. 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, then turns his attention to Tosca (Scarpia: Ed or fra noi parliam da buoni amici – “Now, let us talk like good friends”) Scarpia describes to her in detail her lover’s anguish under torture. She can hear his groans, but is powerless to help him.At last, utterly prostrated, she divulges Angelotti’s hiding-place. The painter is brought out, and Scarpia indicates he knows where Angelotti is hiding. In his pain and humiliation, Cavaradossi denounces Tosca for her betrayal of the secret.Sciarrone enters to announce that earlier reports were mistaken, Bonaparte has defeated the royalist forces at the Battle of Marengo. Cavaradossi, exulting ( Vittoria! ), is dragged away to prison. Tosca tries to follow him, but Scarpia holds her back. She asks him what the price is to free Mario (Scarpia: Mi dicon venal – “They say I’m venal.”) He avows his passion for her and lasciviously demands her body, her virtue, and herself, as the price to save Mario’s freedom. Tosca attempts to flee but is restrained by Scarpia as he attempts to rape her. During the struggle drums are heard -- Scarpia indicates that they are the drums beating Cavaradossi to the scaffold. Tosca finally collapses and asks the Lord the reason for all this cruelty against her

Floria Tosca, a celebrated singerMario Cavaradossi, a painter

tosca(Opera in 3 acts – Music by G. Puccini – Libretto by G. Giocosa and L. Illica)

Main Characters:

Scarpia, Chief of PoliceCesare Angelotti, former Consul of the Roman RepublicSpoletta, a police agent

Trama:

(Tosca: Vissi d’arte, vissi d’amore – “I lived on art, I lived on love”; Scarpia: Sei troppo bella, Tosca, e troppo amante – “You’re too beautiful, Tosca, and too loving”). Spoletta enters to announce that Angelotti committed suicide just as Scarpia’s agents discovered him in the well at Cavara-dossi’s villa.Feeling as if she has no alternative, Tosca finally agrees to yield. Scarpia then orders Spoletta to organize for a mock execution of Cavaradossi, and Tosca demands a safe-con-duct for herself and the painter to leave the country. While she is waiting for Scarpia to write it, she notices a knife on the table, and makes the decision to kill Scarpia rather than allow him to rape her. As he advances to embrace her, she stabs him. (Questo è il bacio di Tosca– “This is Tosca’s kiss”). Having piously composed the body for burial, she departs to the sound of drums in the distance (E avanti a lui tremava tutta Roma – “And before him trembled all of Rome”).

Act Three. Top floor of Castel Sant’ Angelo where Cavara-dossi is due to be shot.Church bells announce the beginning of the day while a shepherd sings a stornello in romanesco, the Roman dia-lect. Cavaradossi, in prison, awaits his execution. For the price of a ring (his last possession), Cavaradossi convinces a jailer to deliver a note to Tosca, then starts writing a fare-well letter ( E lucevan le stelle – “And the stars were shin-

ing.”). With the last line (E non ho amato mai tanto la vita – “And never have I loved life so much”), he bursts into tears.Tosca enters with Spoletta and a sergeant, bringing the safe-conduct and explains to him how she killed Scarpia in order to save them both. (Tosca: Il tuo sangue o il mio amor volea – “He wanted your blood or my love”) She then explains the mock execution which she believes to be ar-ranged for him, and with triumphant and high emotion, they begin to dream of their future together. (Duet: Senti, l’ora è vicina – “Listen, the hour is near.”)(Cavaradossi: Amaro sol per te m’era il morire – “Dying was bitter only because of you”; Tosca: Amore che seppe a te vita serbare – “My love, which was able to save your life”; final duet: Trionfal... di nova speme – “Triumphant, with new hope.”)The soldiers fire; Mario falls. Tosca playfully compliments Mario on his marvellous acting (Ecco un artista – “There’s an artist”). When the executioners leave, Tosca runs to Mario and tells him to get up. When he does not respond, Tosca realizes the truth: Scarpia had never intended to spare Cavaradossi, but had given Spoletta orders to execute him. Cavaradossi lies dead. As Tosca comes to this realization, Spoletta, who has discovered Scarpia’s death, enters with soldiers, denouncing her as a murderer. He comes forward to take Tosca prisoner, but she pushes him away. She then jumps from the ramparts of the castle and falls to her death (“O Scarpia, avanti a Dio!” - “O Scarpia, we shall meet before

God!”).

(Opera in 3 acts – Music by G. Puccini – Libretto by G. Giocosa and L. Illica)

CalendarioCalendar

Sab/Sat 01-ago BARBIERE DI SIVIGLIADom/Sun 02-ago CARMENMar/Tue 04-ago TURANDOTMer/Wed 05-ago AIDAGio/Thu 06-ago BARBIERE DI SIVIGLIAVen/Fri 07-ago TURANDOTSab/Sat 08-ago AIDAGio/Thu 13-ago CARMENVen/Fri 14-ago BARBIERE DI SIVIGLIASab/Sat 15-ago TOSCADom/Sun 16-ago AIDAMar/Tue 18-ago AIDAMer/Wed 19-ago TOSCAGio/Thu 20-ago CARMENVen/Fri 21-ago AIDASabato 22-ago TOSCADom/Sun 23-ago CARMENMar/Tue 25-ago CARMENMer/Wed 26-ago TOSCAGio/Thu 27-ago AIDAVen/Fri 28-ago CARMENSab/Sat 29-ago TOSCADom/Sun 30-ago AIDA

giugno / june

luglio / july

agosto / augustVen/Fri 19-giu CARMENSab/Sat 20-giu AIDAGio/Thu 25-giu AIDAVen/Fri 26-giu TURANDOTSab/Sat 27-giu CARMENDom/Sun 28-giu AIDA

Gio/Thu 02-lug CARMENVen/Fri 03-lug TURANDOTSab/Sat 04-lug AIDAGio/Thu 09-lug CARMENVen/Fri 10-lug TURANDOTSab/Sat 11-lug BARBIERE DI SIVIGLIADom/Sun 12-lug AIDAMar/Tue 14-lug CARMENMer/Wed 15-lug BARBIERE DI SIVIGLIAGio/Thu 16-lug AIDAVen/Fri 17-lug TURANDOTSab/Sat 18-lug CARMENMer/Wed 22-lug AIDAGio/Thu 23-lug CARMENVen/Fri 24-lug GALASab/Sat 25-lug BARBIERE DI SIVIGLIADom/Sun 26-lug AIDAMar/Tue 28-lug AIDAMer/Wed 29-lug TURANDOTGio/Thu 30-lug CARMENVen/Fri 31-lug AIDA

tosca

RappresentazioniPerformances AIDA, TOSCA, NABUCCO, CARMEN, RIGOLETTO, GALA ROMEO ET JULIETTE.

Prezzi altre recite

Other performances’ prices

Prezzi recite venerdì e sabatoWeek end performances’ prices(friday and saturday)

198,00 poltronissime “GOLD” front stall seats “GOLD”168,00 poltronissime front stall seats127,00 poltrone stall seats104,00 gradinata numerata numbered seats on the steps84,00 gradinata numerata laterale lateral numbered seats on the steps27,50 gradinate D E Unreserved stone steps D E23,00 gradinate C F Unreserved stone steps C F

Euro Settore/Sector

183,00 poltronissime “GOLD” front stall seats “GOLD”153,00 poltronissime front stall seats116,00 poltrone stall seats94,00 gradinata numerata numbered seats on the steps79,00 gradinata numerata ridotto reduced numbered seats on the steps73,00 gradinata numerata laterale lateral numbered seats on the steps59,00 gradinata numerata laterale ridotta reduced lateral numbered seats on the steps25,50 gradinate D E unreserved stone steps D E21,00 gradinate D E ridotte reduced unreserved stone steps D E21,00 gradinate C F unreserved stone steps C F18,00 gradinate C F ridotte reduced unreserved stone steps C F

Euro Settore/Sector

gradinata non numerataUnreserved stone steps

poltrone numerate di gradinataNumbered setas on the steps

poltrone numerate di gradinata lateraleLateral numb. seats

poltrone2nd sector stalls

poltronissime1st sector stalls

poltronissime gold1st sector stalls “GOLD”

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