Tosca Puccini summary. Puccini "Tosca": History of creation and Great performers of both plays and operas

G. Puccini opera "Tosca"

As the basis for the libretto for his opera “Tosca,” G. Puccini chose the play of the same name by V. Sardou. This great story love and betrayal, dressed by the Italian composer in opera genre, for more than a century, has never 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.

• In one performance, in the scene of Tosca falling 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 Leonie Rizanekpela sang the Prayer of Longing on her stomach. She also did not believe that Tosca could hide the knife in advance, and in versions of the play with this singer, a glass of wine was broken, and a splinter was stabbed into Scarpia’s neck.
• Montserrat Caballe entered the Guinness Book of Records as the only singer who sings 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 up as a bass. In the opera Tosca he performed the roles of both Cavaradossi and Scarpia.
• According to biographers Puccini, he received V. Sardou’s consent to use his composition for the basis of the libretto thanks to the 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 refuse death main character and replace the scene of her falling from the castle roof with madness. But the playwright did not give in to persuasion: the girl must throw herself down from the parapet of the Castel Sant'Angelo. He called the main argument for such a finale the following: it is not good to detain the viewer with a scene of madness just before the end of the performance. And then the maestro intervened in the dispute - he took his copy of the libretto, opened final scene and showed those present his mark “Aria coat”. This is how 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 Sardou, 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 first production of the opera was received rather coldly by the audience. One of the reasons for this reaction was unoriginal melodies and.... sound and stage sadism. IN in this case The public did not like the torture scene.
• Puccini by everyone possible ways tried to convey the atmosphere of Rome in his work early XIX century. Especially for this, with the help of the temple minister, Don Panicelli, 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 capabilities, and therefore asked him to sing. As soon as Caruso completed the performance of the hero’s first aria, the maestro asked who sent him to him, perhaps the Almighty himself?
• In the 20th century in Russia, the opera "Tosca" was performed under the title "The Struggle for the Commune." A new libretto was written for the work of the great Italian; 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 intelligence services and detectives. Among the most famous films, where this work is mentioned or music from it is heard - “Déjà Vu” (1989, directed by J. Machulski), “Surrogates” (2009, J. Mostow), “Pink Doll” (1997, V. Olshwang), "Stalingrad" (2013, F. Boncharchuk), "22 bullets. Immortal" (2010, R. Berry), "Method" (2015, Yu. Bykov). It’s curious, but the plot twists and turns of the immortal operatic masterpiece are very organically woven into the quests and some computer games, for example "Hitman: Blood Money" (2006).

Material from Wikipedia - the free encyclopedia

"Yearning"(Italian: Tosca) - opera by Giacomo Puccini, one of the most repertoires in theaters in the world. Libretto by Luigi Illica and Giuseppe Giacosa based on the drama of the same name by Victorien Sardou (1887). The premiere took place at the Teatro Costanzi in Rome on January 14, 1900.

Characters

History of creation

The play “Tosca” was written by V. Sardou especially for Sarah Bernhardt, and the actress had enormous 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 Filodramatico. In a letter dated May 7, 1889, the composer instructs his publisher Giulio Ricordi to carry out all the necessary negotiations to obtain Sardou's permission to write an opera based on his work. The play also aroused interest as a source for the libretto among Verdi and Franchetti. The latter received the rights to write the opera and even began work. However, thanks to Ricordi, these rights ultimately 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. Illica (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 received his consent to use the play. Later, the composer agreed with the author of the drama on some changes in the plot. Puccini insisted that all minor details be removed, the plot simplified as much as possible, and the action accelerated as much as possible. The image of the main character also underwent 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.

First performances

The premiere of Tosca took place at the Costanzi Theater in Rome on January 14, 1900. Queen Margaret of Savoy was present in the hall, surrounded by members of the Italian government. Among the listeners were famous composers - P. Mascagni, F. Cilea, A. Franchetti, G. Sgambatti.

Suddenly the police appeared in the theater: as it turned out, a bomb could have been planted in the theater. After some time, the conductor began the performance, but he had to stop the orchestra because screams were heard in the hall. However, the cause of the noise was not the threat of an explosion, but ... a violation of Roman theatrical tradition: the performance began exactly at the announced time, and the audience was accustomed to being late. Latecomers demanded to start again. In such a turbulent environment, the singers and conductor had to show restraint and self-control.

At the end of the performance, the audience called Puccini to bow, but he was not very pleased with the reaction of the audience. Perhaps the composer felt that he had not yet become “one of his own” for the Roman public. Despite the modest success of the premiere, Puccini was grateful to the first performers of the opera - conductor Leopold Mugnone, singer Chariclea Darkle (Tosca), singers Enrico de Marchi (Cavardossi) and Eugenio Giraldoni (Scarpia).

It is known that H. Darkle, having become acquainted with the newly written opera (Puccini himself sang all the vocal parts, accompanying him on the piano), noticed that in the second act there was not enough aria for the main character, in which she could reveal all the complexity of her state of mind after a tense scene with Baron Scarpia. The composer listened to this remark - this is how the magnificent, most expressive aria “Vissid’arte, vissid’amore” (“I only sang, loved tenderly”) appeared.

H. Darkle as Tosca

In the spring of 1900, Tosca was staged in Milan, at the legendary La Scala theater. Darkle and Giraldoni sang again, with Giuseppe Borgatti singing the part of Cavaradossi. Arturo Toscanini conducted the Milan premiere .

Arturo Tuscany (1867-1957)

In a letter to music critic Primo Levi, the composer, happily reports: “Here Tosca has won universal sympathy, since the theater is filled every evening. The eleventh performance took place this evening.”

In 1900, “Tosca” was performed in all major theaters Italy. At the performance in Livorno, the role of Cavaradossi was sung by the young Enrico Caruso .

E. Caruso as Cavaradossi

In the biography of Puccini, written by G. Marotti, there is an episode dedicated to the composer’s first meeting with the singer: Puccini, not yet knowing the capabilities of Caruso’s voice, asked him to sing. After the singer performed Cavaradossi’s first aria, “Reconditaarmonia,” the composer asked him: “Who sent you to me? God Himself?

Within a year, “Tosca” entered the repertoire the best theaters peace. The opera was first staged in Russia in December 1900 in Odessa. As the Russian Musical Newspaper reported, “Tosca is performed very well in Odessa. Ms. Mendioz played the title role with great success. In the difficult role of Baron Scarpia, Mr. Giraldoni was very good, and in the role of the artist Cavaradossi, the favorite of the Odessa public, Mr. Apostolou, was incomparable.”

Roman drama

Writing an opera based on a plot that the playwright Sardou called “Roman,” Puccini sought to reproduce as accurately as possible the signs of place and time. Thus, the composer studies the ancient Castel Sant'Angelo in Rome: it was once the mausoleum of Emperor Hadrian, but later it became a fortress and a prison. In Act III of the opera, the artist Mario Cavaradossi becomes a prisoner of Castel Sant'Angelo.

Puccini turns to the priest Don Panichelli with a request to find out at what pitch the morning bells of St. Peter's Basilica sound: the composer reproduces this sound in the prelude to the last act of Tosca. Panichelli also helps Puccini with the selection of material for final scene Iakta is a solemn service on the occasion military victory. The composer himself worked as a church composer and organist in his youth, so he develops the dramaturgy of this scene with special care.

In one of his letters to his friend A. Vandini, Puccini writes: “You must find some good Roman poet... In last act I have a shepherd boy who passes by with his sheep A mka (he is not visible, you can only imagine him) - he sings a simple village song, sad and sentimental.” The text of an ancient song sung by shepherds around Rome was proposed by the scientist and poet Luigi Zanazo.

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

The opera takes place against the backdrop of the following historical events. Italy has long been a series of independent cities and lands, with the Papal States at the center of the country. In 1796, a French army under 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 inspiration for Cesare Angelotti. The French, who defended the republic, left Rome in 1799, 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 the Austrian at the Battle of Marengo. The commander-in-chief of the Austrians, Melas, being confident of 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, the sacristan enters the church, bringing 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 the 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 that it be opened for her. Angelotti is hiding again. Tosca enters. The jealous beauty thinks that Mario depicted her rival in the portrait. Cavaradossi calms her suspicions, and they agree to meet at his place in the evening, after Tosca performs at the Farnese Palace. Florya leaves. Cavaradossi and Angelotti also leave the church - the artist decided to hide his friend at home.

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

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

Act two

Farnese Palace. On the same evening, the victory over the French is celebrated here. Scarpia, in his office at the police station, which is located in the palace, hears the distant sounds of music and reflects on what happened that day. With the gendarme Sciarrone, 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 remain silent about what she saw at his house. Scarpia sends the artist to a torture chamber.

Scarpia interrogates Tosca. She is calm, but only until the minute she hears the screams of the tortured Cavaradossi from the cell. In desperation, she reveals Angelotti's hiding place - he is hiding in a garden well. Cavaradossi is brought back to Scarpia's office. He understands that Tosca has told everything. Suddenly news arrives of Napoleon's victory in 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.

Toska is completely confused and depressed by what is happening. An aria sounds Vissi d'arte. But to save 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 writes out passes for Tosca and the artist so that they can escape from Rome. However, when Scarpia turns to hug her, Tosca stabs him with a dagger. She hastily leaves the palace, taking the passes with her.

Act three

Sant'Angelo prison area. Cavaradossi is taken to the prison roof, where he will be executed. He writes his last letter to Tosca. Cavaradossi's aria sounds E lucevan le stelle. Suddenly Floria appears. She talks about Scarpia's murder, shows her lover the passes and tells him that the execution will be false. Floria and Mario are confident that they are saved.

Soldiers appear, led by Spoletta. Cavaradossi calmly stands 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 apprehend Tosca. She throws herself down from the castle roof.

Cases of alteration of the libretto

Reworking the libretto of Tosca into the opera In the Struggle for the Commune

IN Soviet Russia in the first years after the revolution, “Tosca” by G. Puccini received a new name “In the Struggle for the Commune.” The libretto was created by N. Vinogradov and S. Spassky. The action took place in Paris in 1871. The main character was the Russian revolutionary Zhanna Dmitrieva. Her lover was Arlen, a communard. His rival is Galife, the commander of the Versailles troops.

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(soloists are given in next order: Tosca, Cavaradossi, Scarpia)

• 1938 - Dir. Olivero de Fabritiis; soloists: Maria Caniglia, Beniamino Gigli, Armando Borgioli.
• 1953 - Dir. Victor de Sabata; soloists: Maria Callas, Giuseppe Di Stefano, Tito Gobbi.
• 1957 - Dir. Erich Leinsdorf; soloists:

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-willed characters ensured this composer's creation enormous popularity, which continues to this day. It is significant that episodes of some films take place against the backdrop 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 leading theater venues in the world. He was the greatest author of major works after Verdi. At the same time, he differed from his famous predecessor in his commitment to a new direction in art - verism. This style assumed an emphasis on socio-psychological conflicts between characters.

This determined the features musical works composer (“La bohème”, “Manon Lescaut” and others). He believed that melody and action on stage should be inextricably linked, which is why his compositions do not contain overtures that are performed without a stage performance. The music in Puccini's operas sounds in a continuous flow, without the transitions that separated the musical numbers in the works of his predecessors. Such innovation did not immediately meet with the understanding of not only the public, but also professional critics. However, many of them even then noted the courage 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 distinguished by vivid drama and complex orchestration, so not all singers can sing to his music. Despite the originality of many of the author's discoveries, he borrowed a lot from his predecessors, primarily from Verdi (dynamic plot, drama).

The basis of the story

The opera Tosca was written in 1900. The summary of Puccini's new masterpiece is based on the play by V. Sardou, popular at the time. Other composers, including the famous G. Verdi, also became interested in this drama. 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 K. L. Illicke and G. Giacosa. The author, however, did not accept the play in its original form. At his insistence, significant changes were made to the text of the work. The plot of the drama was greatly simplified; minor lines were cut, all attention was concentrated on the three main characters who formed love triangle. The opera “Tosca,” the 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 accused of repetition musical numbers and the naturalism of the scenes (primarily we are talking about the episode of torture of the main character). But over time, the work gained enormous popularity in the music world.

Historical background of the action

The opera "Tosca", a brief 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 advance of 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 of this work is a close connection love line from political. Giacomo Puccini masterfully integrated the main intrigue into the context of the era.

Introduction

The opera begins with a very dynamic moment: a supporter of the republic, a supporter of Napoleon Angelotti, flees 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 alarming melody of the former Roman consul, who turned out to be his old acquaintance and comrade. The two 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 frantically loves Mario. The latter hides his secret from her. Both sing a wonderful love duet and agree to meet in the evening. Their joint performance shows the viewer the depth of feelings of these characters and at the same time, as it were, foreshadows the tragic denouement of the action.

Development of action

The opera "Tosca", the libretto of which is based on Sardou's play, is distinguished by its fast, almost rapid development of action. Immediately after the heroine leaves, Mario helps Angelotti leave the temple unnoticed.

After this scene Scarpia appears - main antagonist in the play. He holds the post of 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 realizes that the fugitive was hiding in the church and decides to track him down, using Tosca's jealous temper.

The beginning of the 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 into country house artist to confirm his suspicions. Scarpia orders him to follow her, without doubting that the one he was looking for is hiding in this shelter. At the same time, Scarpia understands that he has been dealt opportunity charge Mario with treason and sentence him to death for harboring a Republican rebel. The ending of the first act turned out to be very difficult musical performance"Yearning". The plot of the opera is based 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 is plotting to destroy his opponent.

Second act

The second act opens with a scene in the police chief's palace. He sings his famous aria, which reveals him as a proud, proud, arrogant man. Scarpia sings about how he enjoys torturing his victims not only physically, but also psychologically. This aria is like an introduction and explanation of the terrible scene that followed later. The author of the opera "Tosca" skillfully built the action on contrast: the gloomy ominous aria of this negative character sounds almost at the same time as festive 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 has no direct evidence of the artist’s guilt: the fugitive managed to hide in a secret well, and the guards were never able to find him. Then the boss decides to use the affection of the main character in order to extract from her the whereabouts of the escaped prisoner.

Confrontation of heroes

The opera "Tosca" is particularly dramatic. Composer Puccini in this work demonstrated the extraordinary talent of the 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, extracting a confession from the jealous singer. The latter, as the police chief expected, visited the artist’s house and learned Mario’s secret. The police chief orders the prisoner to be tortured, and Tosca, unable to bear the sight of her lover’s torment, 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 heroine’s requests to spare Mario, he promises to save him by staging a mock execution, but in exchange demands one date from Tosca.

Climax

At this moment one of the sounds sounds best arias in the opera performed by the heroine: she complains about her fate and succumbs 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 over time 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.

Final

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

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

On January 14, 1900, the premiere of Tosca, an action-packed opera by Giacomo Puccini (1858-1924), took place at the Costanzi Theater in Rome.

The plot of the play “Tosca” by French playwright Victor Sardou attracted Puccini’s attention for a number of years. He first saw Tosca in Milan in 1889 with the famous Sarah Bernhardt in the title role. The freedom-loving pathos of Sardou's drama, set in Italy during the dark era of reaction, was in tune with Puccini's sentiments. The tense atmosphere of the play, the severity of the conflicts, and the dramatic nature of the characters’ experiences corresponded to the composer’s desire for bright operatic expressiveness. The creation of the libretto for the future opera was entrusted to the composer's permanent assistants - L. Illika (1859-1919) and D. Giacosa (1847-1906).

Puccini himself took an active part in the work, at whose insistence a number of changes were made to the fate of the main character. The music of Tosca was composed in 1898-1899. The first performance, on January 14, 1900, was a great success. Productions of the opera soon followed in major European theaters, strengthening the glory of this one of the most famous works Puccini.

French playwright Sardou Victorien(1831—1908) , who reigned on the Parisian stage during the Second Empire, author of numerous plays and pseudo-historical comedies, was born in Paris.

At first he studied medicine, then gave lessons, wrote articles in magazines, made his debut in dramatic literature comedy (1854), but without any success. Exhausted by the struggle for existence and depressed by failures, the young man fell ill with typhus; his roommate (his future wife) took pity on the lonely young man, took care of him until he recovered, and then introduced him to famous actress Dejaze, which had its own theater, which became the arena of Sardou’s first successes.

“Tosca” was written specifically for the great Sarah Bernhardt (1844-1923).

Stanislavski considered Sarah Bernhardt an example of technical excellence: beautiful voice, honed diction, plasticity, artistic taste.

Masterpieces of world musical theater. Emily Magee, Jonas Kaufmann, Thomas Hampson in the opera Tosca. Production of Zurich opera house. Choir and orchestra of the Zurich Opera.

The action takes place in Rome in 1800. The artist Cavaradossi helps the republican Angelotti, who escaped from prison, to escape persecution. The police chief, Baron Scarpia, who is on the trail of the fugitive, decides to catch him at all costs. He incites the jealousy of the artist's beloved, singer Floria Tosca, and she unwittingly reveals to him the place of her meetings with Cavaradossi. That's where Angelotti is hiding. However, he cannot be found. Cavaradossi is summoned for questioning by Scarpia. He is tortured, and Tosca hears his groans. She cannot bear the torment of her lover and points out where Angelotti is hiding. The artist faces execution. Scarpia invites Tosca to become his mistress, promising that Cavaradossi will be shot only for show - with blank cartridges. He gives an ambiguous order in the presence of Tosca and writes a pass for her and Cavaradossi to leave the city. Left alone with Scarpia, Tosca kills him. She is allowed into Cavaradossi's cell, and she convinces her lover that he will be saved - he just needs to bravely face the volley and pretend to be dead. But Scarpia turned out to be a traitor to the end: Cavaradossi falls killed. The Baron's death is revealed and Tosca is pursued by the police. She throws herself from the tower parapet into the abyss.

Italian composers known all over the world. One of them is Giacomo Puccini (his photo is presented below). This is the author of an opera called "Tosca". It is this work that we will talk about today.

The opera "Tosca", a summary of which is presented in this article, opens with three crushing chords. They are always used further to characterize Scarpia. This character is a sinister police chief, a merciless, although outwardly sophisticated man. He personifies the reactionary forces of Italy. In this country in 1800, Napoleon was considered the apostle of freedom, which was reflected in such a work as the opera Tosca. The summary continues with the opening of the curtain, signaling the beginning of the first act.

Start of the first act

The curtain rises immediately after the opening chords. The viewer appears internal view Church of Sant'Andrea della Balle in Rome. A man in tattered clothes, trembling with fear, enters one of its side doors. This is Angelotti, a political prisoner who escaped from prison. He is hiding in the church. His sister, Marquise Attavanti, hid the key to the family chapel under the statue of the Madonna, in which her brother is hiding. Angelotti is now frantically searching for him. Puccini's opera "Tosca" continues with the fact that this hero, having found him, hastily unlocks the door of the chapel and hides in it. He manages to do this before the sacristan enters with food and things for the artist working here.

The sacristan comes to Cavaradossi

The sacristan is busy with his thoughts. He is talking about something to himself as he walks to the artist’s place of work. The sacristan is unhappy that the features of one of the parishioners appear in the image of a saint. Perhaps the devil himself controls the hand of this daring painter. Here comes the artist himself, Mario Cavaradossi. He begins to work on the image of Mary Magdalene. There is a painting on the easel, half finished. Cavaradossi sings the aria “His face changes forever.” In it he compares with the features of his beloved, Floria Tosca ( famous singer), sketches of his portrait.

The artist discovers the fugitive

The sacristan leaves. The artist discovers Angelotti, who believes the church to be empty and decides to come out of hiding. His fear at the sight of the artist is immediately replaced by joy - he and Mario are old friends. Now the artist will not leave an escaped prisoner in trouble. However, their conversation is interrupted by a knock on the door.

Appearance of Floria Tosca in the Church

Do you want to know how the opera "Tosca" continues? The summary introduces the reader to further events. Floria Tosca asks to open the door to the church. Cavaradossi, barely hearing the woman’s voice, pushes his friend back into the chapel to hide there. Florya enters. This is amazing beautiful woman, dressed superbly. She, like most other beauties, is easily jealous. Now this feeling is aroused in her by the portrait that Cavaradossi is painting. She recognizes the blond beauty. It takes some effort for the artist to reassure his beloved. Floria is unable to remain angry with Mario for long, and after a conversation they agree to meet at the artist’s villa after Floria’s evening performance at the Farnese Palace. Angelotti, after she leaves, comes out of hiding again. Cavaradossi takes him away in order to hide him at home.

Police chief searches for fugitive

The plot of the opera "Tosca" develops rapidly. News arrives that Napoleon has been defeated in northern Italy. The priests in the church are making preparations to perform a service on this occasion. Scarpia enters the midst of his preparations. The police chief is looking for the fugitive Angelotti. Together with Spoletta, his detective, he finds a lot of evidence that this is where the fugitive is hiding. Among the evidence are these characters the plays reveal, for example, a fan with the coat of arms of Attavanti. Scarpia uses it cunningly in order to arouse the jealousy of Floria, for whom he burns with passion.

Divine service

The service begins. A large procession enters the church. While the Te Deum is played in honor of the victory over Bonaparte, Scarpia stands to the side. The police chief hopes that he can get rid of his competitor, and uses Floria's jealousy to do this. If his plan succeeds, Cavaradossi will be on the scaffold, and he will receive Tosca. Before the curtain falls, Scarpia kneels in prayer before the cardinal, but his thoughts are consumed with the devil's plan.

Beginning of the second act

The victory over Bonaparte is celebrated in the Farnese Palace in the evening of the same day. The sounds of music come through open windows police station located right there in the palace. Scarpia is in his office thinking about the events of that day. He sends a note to Tosca with Sciarrone, his gendarme, and also receives a message from detective Spoletta. He searched Cavaradossi's house, but did not find Angelotti there, but saw Tosca. Spoletta arrested Cavaradossi, who was in the palace.

Interrogation of Cavaradossi and Tosca

While Floria's voice is heard performing the solo part, her lover is interrogated in Scarpia's office, but to no avail. When Floria appears, Cavaradossi manages to whisper to her that the police chief does not know anything, and that she should not talk about what she saw in his house. Scarpia orders the artist to be taken to the torture chamber. The gendarmes carry out this order, and with them the executioner Roberti.

After this, Scarpia begins to interrogate Tosca. The woman maintains her composure, but only until she hears Cavaradossi's moans coming from the cell. Unable to bear this, she reveals the location of Angelotti. This is a well in the garden. Exhausted by torture, Cavaradossi is taken to Scarpia's office. The artist immediately realizes that his beloved has betrayed his friend. Immediately after this comes news that Bonaparte has won a victory at Marengo. Cavaradossi cannot contain his joy. He sings a song in praise of freedom. Scarpia orders him to be taken to prison and executed the next morning.

Murder of Scarpia

The police chief then begins a treacherous conversation with Floria again. During this dialogue, Tosca's aria is included in a work such as the opera "Tosca". Floria sings “I only sang, I only loved.” This is a passionate appeal to music and love - two forces to which Tosca dedicated her entire life. A woman decides to sacrifice herself to save her loved one.

Scarpia now explains that since he has already ordered the execution of Cavaradossi, at least false preparations for the execution should be made. He calls Spoletta and gives him the necessary instructions, and also writes out passes so that Cavaradossi and Tosca can leave Rome. However, at the moment when Scarpia turns to her, intending to take the woman into his arms, Tosca plunges a dagger into the police chief. The orchestra is playing three Scarpia chords at this time, but now very quietly.

Floria washes her hands, and then takes the passes from Scarpia’s hand, places a candle on either side of the murdered man’s head, and places a crucifix on his chest. The curtain falls as Florya disappears from the office.

Beginning of the third act

The final act begins quite calmly. An early morning song performed by a shepherd boy sounds offstage. The third act takes place on the roof of the Roman Castel Sant'Angelo. It was here that Cavaradossi was to be brought for execution. He is given short time to prepare oneself for death. He uses this time to write his last letter to Tosca. This is a very touching scene that appears to the audience in the third act (the opera Tosca). The aria of "Tosca" that Cavaradossi sings at this moment is called "The stars were burning in the sky."

Passionate duet of lovers

Then Floria appears. She shows her lover the life-saving passes and tells how she managed to kill the police chief. A passionate love duo looks forward to a happy future. Tosca then says that Cavaradossi should go through the farce of a false execution and then they will run away together.

Tragic ending

The crew led by Spoletta enters. Mario stands in front of him. A shot sounds and the artist falls. The soldiers are leaving. Floria falls on the body of her murdered lover. She realizes only now that Scarpia deceived her. The cartridges turned out to be real, and Cavaradossi was killed. Sobbing over his corpse, the young woman does not notice the footsteps of the returning soldiers. They found Scarpia's body. Spoletta tries to grab Floria, but the woman pushes him away, climbs onto the parapet and throws herself down from the castle roof. The soldiers, frozen in horror, stand motionless while the tune of Cavaradossi's dying aria sounds.

This is how the opera Tosca ends. The summary we have presented, of course, does not even come close to conveying the full magnificence of this work. It's definitely worth seeing it in a theater if possible. Italian composers are considered among the best in the world. Opera created by Giacomo Puccini, in once again proves it.