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The Story

ACT I.

Cesare Angelotti, an escaped political offender, seeks refuge in a church where his family has a chapel. His sister, while praying for his release, has unwittingly served as a model to the painter Mario Cavaradossi for his portrait of the Magdalen. A few minutes before the church sacristan enters to assist the painter, the dissident conceals himself in the chapel. Cavaradossi stops his work for a moment to remove a medallion from his pocket that contains a miniature portrait of his lover, the opera diva, Floria Tosca and compares her to the model. The sacristan sings a reply and then leaves him alone to paint. Angelotti comes out of hiding, as Cavaradossi is his friend and political ally, and begins to tell of his escape from Roman prison; but the arrival of Tosca interrupts their conversation. Cavaradossi gives Angelotti some food and helps him return to hiding.

Tosca has come to invite the painter to meet her after her performance that evening, but is unreasonably jealous, however, having heard him speaking to someone upon her arrival. She imagines an intrigue with a woman, and her fears are apparently confirmed by the developing portrait of Mary Magdalene. Finally, Tosca realizes who he has used as the model, but he assuages her suspicions. Her jealousy abated, she leaves, but not before playfully insisting he make the Magdalene's eyes dark, like hers.

Angelotti reappears, and they plan his escape: he will don woman's attire and flee to Cavaradossi's villa; Angelotti will hide in the painter's well, and Cavaradossi swears, even if it costs him his life, he will save him from the authorities. A cannon shot from the fortress warns that the dissident's 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 who falsely believe that Napoleon has been defeated. Scarpia, chief of police, arrives with his deputy Spoletta and some of his men in search of the escaped prisoner. In the chapel, Spoletta finds the painter's basket emptied of food and wine. Scarpia threateningly asks the sacristan about this, but he maintains that Cavaradossi did not have the key to the chapel and had not expressed any interest in the food. Scarpia shrewdly surmises that the painter is somehow connected with his escape.

Tosca returns to explain to Cavaradossi that she will not be able to meet him after all, and finding that he has left, her suspicions return. Scarpia arouses Tosca's jealousy by producing something Angelotti’s sister left behind, and she departs in anger. Ordering his agent to follow her, he passionately avows his desire for the singer; he then kneels devoutly in prayer.

ACT II.

Scarpia is dining alone while celebrations are heard outside; he sends a servant to give Tosca a note to invite her to join him when she finishes her recital. Cynically he sings of pleasure, presuming she will surrender to his power. Spoletta enters with Cavaradossi in custody but without Angelotti. Scarpia closely questions the painter, but he reveals nothing. Tosca arrives and Cavaradossi whispers to her not to say anything about Angelotti. Scarpia sends him off to be tortured and turns his attention to Tosca, describing to her in detail her lover’s anguish under torture. She can hear his groans but is powerless to help him; 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, is taken away to prison. Tosca attempts to follow him but is held back by Scarpia. She asks what the price will be to secure his release and Scarpia avows his passion for the singer and lasciviously demands her body, her virtue, and herself, as the price. She attempts to flee but is restrained by Scarpia. During the struggle, drums are heard and Scarpia indicates that they are the drums beating Cavaradossi to his death. She finally collapses and asks the Lord the reason for all this cruelty against her. Spoletta enters to announce that Angelotti has committed suicide just as Scarpia’s agents discovered him—in the well at Cavaradossi’s villa.

Feeling as if she has no alternative, Tosca finally agrees to yield. Scarpia orders Spoletta to organize for a mock execution of Cavaradossi, while Tosca demands a safe-conduct for herself and the painter to leave the country. While she is waiting for Scarpia to write it, she notices a knife on the table and makes the decision to kill him rather than allow him to kiss her. As he advances, she plunges the knife into him. Having piously composed the body for burial, she departs to the sound of drums in the distance.

ACT III.

Church bells announce the beginning of the day, as Cavaradossi awaits his execution. For the price of his last possession, he persuades the jailer to deliver a note to Tosca, then starts writing a farewell letter and with the last line, bursts into tears. Tosca enters with Spoletta and a sergeant, bringing the safe-conduct letter, and explains to him how she killed Scarpia in order to save them both. She then explains the mock execution which she believes to be arranged for him, and with triumphant and high emotion, they begin to dream of their future together.

The soldiers fire; the painter falls. Tosca playfully compliments him on his marvelous acting and when the executioners leave, she runs to him and tells him to get up. Tosca then realizes the truth: Scarpia had never intended to spare Cavaradossi and had given Spoletta orders to execute him. As she 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.

Inside Opera Live

We welcome all ticket holders to join us one hour before each main-stage performance for this free lecture series sponsored in part by the Delaware Humanities Forum. Allow our region’s top professionals, scholars and designers to give you a better understanding of the opera before you experience it firsthand.

Sunday, May 2nd - 1pm
Friday, May 7th - 7pm
Saturday, May 8th - 7pm

For more inforrmation, please contact Sara Tantillo at (302) 658-8063 ext 3253 or stantillo@operade.org