Tosca

by Giaccomo Puccini

Friday, February 24, 2017 • 7:30pm
Sunday, February 26, 2017 • 2:30pm

The Morrison Center

Run-time: 2:30 hrs
(includes two 15-minute intermissions)

 

Saturday, February 18, 2017 • 6:30pm

Semi-staged performance for Sun Valley Opera

Presbyterian Church of the Big Wood
100 Saddle Rd, Ketchum, ID 83340

Tickets: sunvalleyopera.org

The Cast

For more information about each cast member, click on the info next to their name.

Role Cast
Floria Tosca, a celebrated singer Eleni Calenos, soprano info
Mario Cavaradossi, a painter Robert Breault, tenor info
Baron Scarpia, chief of police Kyu Won Han, baritone
Cesare Angelotti, former Consul of the Roman Republic Dennis Rupp, bass
A Sacristan Tyler Oliphant, baritone info
Spoletta, a police agent Jonathan Hill, tenor
Sciarone, a police agent bass
A Jailer bass
A Shepherd boy alto
 
Director Andrew Nienaber info
Conductor Nicolas Giusti info
 
Soldiers, police agents, altar boys, noblemen and women, townsfolk, artisans (chorus)

Overview

Giacomo Puccini’s melodrama about a volatile diva, a sadistic police chief and an idealistic artist contains many famous arias, including “Vissi d’arte” (Tosca) and “E lucevan le stelle” (Cavaradossi). Soprano Eleni Calenos returns as the ill-fated title character – Eleni has previously appeared with Opera Idaho in the title roles of La bohème and Madama Butterfly, and as Micaela in Carmen.

Both during his lifetime and in posterity, Puccini's success outstripped other Italian opera composers of his time, and he has been matched in this regard by only a handful of composers in the entire history of opera. Three of Puccini's operas (Tosca, La bohème and Madama Butterfly) rank among the top ten works performed worldwide. This will be Opera Idaho’s fifth production of Tosca, making the opera one of the company’s most oft-performed operas. The most recent production was in 2003.

Act I

Rome, June 1800. Cesare Angelotti, an escaped political prisoner, rushes into the church of Sant’Andrea della Valle. He hides in one of the chapels just before the painter Mario Cavaradossi arrives to work on his portrait of Mary Magdalene. The painting has been inspired by the Marchesa Attavanti, whom Cavaradossi has seen in the church but does not know. He is struck by the resemblance of the dark-haired beauty of his lover, the singer Floria Tosca, and that of the blonde Marchesa Attavanti. Angelotti, who was a member of the former Bonapartiste government, emerges from his hiding place. Cavaradossi recognizes him and promises help, then hurries him back into the chapel as Tosca is heard calling from outside. She jealously asks Cavaradossi whom he has been talking to and reminds him of their rendezvous that evening. Suddenly recognizing the Marchesa Attavanti in the painting, she accuses him of being unfaithful, but he assures her of his love. When Tosca has left, Angelotti again comes out of hiding. A cannon signals that the police have discovered the escape, and he and Cavaradossi flee to the painter’s house. The sacristan enters with choirboys who are preparing to sing in a Te Deum celebrating the recent victory against Napoleon at the Battle of Marengo. Their excitement is silenced by the arrival of Baron Scarpia, chief of the secret police, who is searching for Angelotti. When Tosca comes back looking for Cavaradossi, Scarpia shows her a fan with the Attavanti crest that he has just found. Seemingly finding her suspicions about her lover’s infidelity confirmed, Tosca bursts into tears. She vows vengeance and leaves as the church fills with worshippers. Scarpia sends his men to follow her to Cavaradossi, with whom he thinks Angelotti is hiding. While the congregation sings the Te Deum, Scarpia declares that he will bend Tosca to his will.

Act II

In his study at the Palazzo Farnese, Scarpia anticipates the pleasure of having Tosca in his power. The spy Spoletta arrives with news that he was unable to find Angelotti. Instead he brings in Cavaradossi. While Scarpia interrogates the defiant painter, Tosca is heard singing at a royal gala in the same building. Scarpia sends for her and she appears just as Cavaradossi is being taken away to be tortured. Frightened by Scarpia’s questions and Cavaradossi’s screams, Tosca reveals Angelotti’s hiding place. Cavaradossi is brought in, badly hurt and hardly conscious. When he realizes what has happened, he angrily confronts Tosca, just as the officer Sciarrone rushes in to announce that Napoleon in fact has won the battle, a defeat for Scarpia’s side. Cavaradossi shouts out his defiance of tyranny and is dragged off to be executed. Scarpia calmly suggests to Tosca that he would let Cavaradossi go free if she’d give herself to him. Fighting off his advances, she declares she has dedicated her life to art and love and calls on God for help. Scarpia insists, when Spoletta interrupts: faced with capture, Angelotti has killed himself. Tosca, now forced to give in or lose her lover, agrees to Scarpia’s proposition. Scarpia orders Spoletta to prepare for a mock execution of Cavaradossi, after which he is to be freed. Tosca demands that Scarpia write her a safe-conduct. When he has done so, she grabs a knife from a table and stabs him.

Act III

At dawn the next morning, Cavaradossi awaits execution at the Castel Sant’Angelo. He bribes the jailer to deliver a farewell letter to Tosca, then, overcome with emotion, gives in to his despair. Tosca appears and explains what has happened. The two imagine their future in freedom. As the execution squad arrives, Tosca implores Cavaradossi to fake his death convincingly, then hides. The soldiers fire and depart. Cavaradossi doesn’t move and Tosca realizes that Scarpia has betrayed her. Just as Spoletta rushes in to arrest her, she leaps from the battlement.