alifornia lOnal lity TOSC A AN OPERA IN THREE ACTS BY V. SARDOU - L. ILLIGA - G. GIACOSA (English version by W. Beatty-Kingston.) irnia il a PUCCINI ALL RIGHTS OF PRINTING, COPYING, PERFORMANCE, TRANSLATION, M.. 'iK [\STKU.MK.\TAJ, AR K AN( iKM KNTS. ETC., <.)!' THIS OPERA ARE STRICT], Y RESERVED. Price 50 Cents Copyright 1899, by G. Ricordi & Co. (English Version') Copyriuht 1900, by G. Ri, G. RICORDI & COMPANY 12 West 45th Street, New York ilifornia ;ional ility THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES IN MEMORY OF EDWIN CORLE PRESENTED BY JEAN CORLE Univi rose A AN OPERA IN THREE ACTS BY V. SARDOU - L. ILLICA - G. GIACOSA (English version by W . B catty-Kingston.} MUSIC BY G. PUCCINI ALL RIGHTS OF PRINTING, COPYING, PERFORMANCE, TRANSLATION. VOCAL, OR INSTRUMENTAL ARRANGEMENTS, ETC., OF THIS OPERA ARE STRICTLY RESERVED. Price 50 Cents. Copyright 1899, by G. Ricordi & Co. (English Version) Copyright 1900, by G. Ricordi & Co. PRINTED IN U. S. A. SYNOPSIS The opera is founded on the drama by Victorien Sardou. ACT I A man in the garb of a convict is seen stealthily entering the Chjurch of San Andrea in Rome. The Sacristan comes into the Church carrying a basket of food and paint brushes for Mario Cavaradossi, who is painting a picture of Mary Magdalen. The Sacristan remarks that the features remind him of the face of a beautiful woman he has often seen in Church. Mario tells him the features of the lady inspired him for his picture and that he copied the face whilst the lady knelt in prayer. The Sacristan goes out and Mario takes from his pocket a picture of Tosca to compare it with that of his Mary Magdalen. At this moment the convict is seen approaching the Chapel door. The man calls Mario by his name and the latter -recognizes his friend, Cesare Angelotti, who was imprisoned for political reasons. Angelotti implores him to help him escape. Whilst they earnestly talk together, Tosca's voice is heard calling to Mario. Mario gives Aagio*ti the food which was left for him and reassures Angelotti that he will help him. Mean- while, Tosca, not seeing Mario, suspects him of an intrigue. After some delay Mario goes to her and she accuses him. He, however, manages to reassure her, but does not disclose the cause of his delay in answering her call to him. Tosca proposes that they meet that very evening at her Villa. She looks at the picture of Mary Magdalen and sees the resemblance with Donna Attavanti, Angelctti's sister. Mario tells her that he does not know the lady, but that he copied her features, because she looked so beautiful in prayer. Tosca's jealousy is kindled, but again Mario reassures her and they part, until the evening. When Tosca has gone, Mario tells Angelotti that he knows of a hiding place near an old well. The two men leave the Church together and are hardly out of sight when choir boys and the Sacristan enter followed by Scarpia and the police, who have already traced Angelotti to the Church. Here they find the fan with the crest of the Attavanti. Scarpia sends his men in pursuit of Angelotti and Mario, and remains in the church. Meanwhile, Tosca, who has felt uneasy, about Mario, returns. Scarpia, who has long been an admirer of Tosca, determines to win her and to turn her against Mario. He shows her the fan with the Attavanti crest. She recognizes it and is now persuaded that her lover loves Donna Attavanti. She leaves the Church in tears followed by Scarpia's spies. ACT II This act shows us Scarpia dining at the Palazzo Farnese, where he has his quarters. He knows that Tosca will sing there that evening and manages to send her a note telling her he has news of her lover. Mario is brought in a prisoner. Scarpia angrily orders Mario to divulge the hiding place of Angelotti, but he refuses. When Scarpia finds he cannot force his secret from Mario, he orders him tortured. Tosca enters as he is being led away and he entreats her to be silent lest 2035303 he be put to death. Scarpia now plies Tosca with questions, and Tosca, hearing the cries of agony as her lover is being tortured in an adjoining chamber, divulges that Angelotti is hiding in the well of the garden. Sciarone now comes in with the news that they have been beaten by the army of Napoleon. Mario predicts the downfall of Scarpia, who in a fury orders the execution of Mario. Tosca wants to go to prison with him, but is detained. She asks Scarpia at what price she can save Mario. Scarpia tells her that he loves her and that only at the price of her honor she can save her lover. To save Mario, Tosca consents. Scarpia tells Tosca that Mario has only one hour more to live, and informs her that in order to gain his freedom Mario will have to go through a mock execution. She begs Scarpia for a safe conduct from the City for both of them that night. He writes the order and is about to give it to Tosca when she stabs him to the heart. As he falls, she takes tlie paper from him, washes her hands from his blood and plac*- two candles at each side of him, laying a cross upon his bosom. ACT III That same night, at the Castle of San Angelo, Mario is listening to his death sentence. The guard tells him he has but one hour to live and he asks for paper and ink to write to Tosca. He hears someone approaching and sees Tosca, who tells him that his life is safe and that the execution will only be a sham, as she has an order for safe conduct for them both. He questions her as to how she was able to get this and she confesses her shameful bargain, telling him that she has murdered Scarpia. He takes her hands and kisses them, happy in her courage. She bids him to feign death and wait until she comes to him. He promises and they await the hour of death full of hope for the future. Soldiers appear and lead Mario to the place of execution. They fire and he falls. When the soldiers have left, Tosca goes to him and bids him rise. He does not move and in terror she realizes that he has been killed. She throws herself on her lover's body weeping in agony. Spoletta and Sciarrone appear and accuse her of the murder of Scarpia. As they are going to place her under arrest she runs to the bastions from which she throws herself. CHARACTERS. FLORIA TOSCA, a celebrated songstress . . . Soprano MARIO CAVARADOSSI, painter Tenor BARON SCARPIA, Chief of the Police . . . Baritone CESARE ANGELOTTI Bass A SACRISTAN Baritone SPOLETTA, Police Agent Tenor SCIARRONE, Gendarme Bass A GAOLER Bass A SHEPHERD-BOY Contralto Roberti, Executioner. A Cardinal. A Judge. A Scribe. An Officer. A Sergeant Soldiers, Police- Agents, Ladies, Nobles, Citizens, Artisans, etc Rome, June.. 1800. ATTO PRIMO La Chiesa di Sant'Andrea alia Valle. A destra la Cappella Attavanti. A sinistra un impalcato : su di esso un gran quadro coperto da tela. Attrezzi vari da pittore. Un paniere. Angelotti (Testito da prigioniero, lacero, sfatto, tremante dalla paura, entra ansante, quast -jor- rendo, dalla porla laterale. Da una rapida occhiata intorno) Ah !... Finalmente !... Nel terror mio stolto vedea ceffi di birro in ogni volto. (torna a guardare attentamente intorno a Be con pift calma a riconoscere il luogo. DJ an Bospiro di sollievo vedendo la colonna colla pila dell'acqua santa e la Madonna) La pila... la colonna... "A pie della Madonna " mi scrisse mia sorella... (vi si arwcina, cerca ai piedi della Madonna e ne ritira, con un soffocato grido di gioia, nna chiave) Ecco la chiave... ed ecco la cappella !... faddita la Cappella Attavanti ; con gran precauzione introduce la chiave nella serratura, apre la cancellata, penetra nella Cappella, rinchiude... e ecompare). II Sagrestano (entra dal fondo inendo fra le mani un mazzo di pennelli e parlando ad alta voce come Be rivolgessela parola a qnalcuno) E frega e lava !... Ogni pennello e soiwo peggio che il collarin d'uno scagnozzo. Signor pittore... To !... vereo Timpalcato dove sta il quadro, e vedendolo deserto, eeclama sorpres*) Nessuno. - Avrei giurato che fosse ri tomato il cavalier Cavaradossi, ACT I. Scene : The Church of Sant' Andrea alia Valle. R. The Attavanti Chapel. X. Scaffolding, dais, easel sup- porting a large picture covered by a cloth. Accessories of the painting craft. A basket. (Enter Angelotti L., in prison garb, harassed, dishevelled, panic-stricken, well-nigh breathless with fear and hurry. He casts a hasty glance around him) Angelotti Ah ! I have baulked them ... dread imagination Made me quake with uncalled-for perturbation. (Juddering, he again 1 oks round him, curiously and somewhat more calmly, heaving a sigh of relief as he recognizes a imlar-shrine containing an image of the Virgin and surmounting a receptacle for Holy Water) The pila ... and the column. My sister wrote to tell me "At the foot of the Madonna" ... Q*e approaches the column and searches for the key beneath the feet of the Holy Virgin's image. Not finding it immediately, he appears discouraged, and renews his quest in a state of manifest agitation. Presently, stifling au exclamation at joy, he discovers the key) This is the key, (quickly passing his hand over the portals of Attavanti Chapel) and this the Chapel entrance. 'Stricken .new with alarm by the notion that he has been followed, he looks timorously about him, creeps up to the chapel-gates, carefully inserts the key in the kevhole, opens the folding-doors and passes through them, closing them behind him) " (Enter the Sacristan C., grasping in one hand a bundle of paint-brushes ; he crosses from L. to R., and takes up bin stand in the nave of the church, for a time, eventu- ally moving towards th scaffolding while talking loudly, as though he were address- ing tome unseen person) The Sacristan .(who has a nervous trick of twitching his neck and shoulders) Vainly I soak them ! Dirty they are and sticky, Fouler than any frowsy choir-boy's dicky... Good sir, I pray you.*, (staring at the dais, and amazed to see it vacant) What ! Nobody ! I could have sworn should have found Cavaradossi feusily working at his easel. (depone 1 pennelli, sale sull'impalcato, gnarda dcntro il paniere e dice) No, sbaglio. II paniere e intatto. (suona V Angelas. II Sagrestano si inginocchia e prega sommesso). CAVARADOSSI - SAGKESTANO. Cavaradossi (dalla porta laterale, vedendo il Sagrestano in ginoccbio) Chefai? Sagrestano (alzandosi) Recito \* Angelus. (Cav-aradossi sale Bull'impalcato e scopre il quadro. K una Maria Maddalena a grand! occhi azzurri con una gran pioggia di capelli dorati. II pittore vi sta dinanzi muto attentamente osservando). (II 8agrestan">, volgendosi verso Cavaradossi per dirigcrglio la parola, vede il quadro bcoperto e di in un grido di meraviglia) O sante arapolle ! II suo ritratto !... Cavaradossi Dichi? Sagrestano Di quell'ignota che i (11 passati a pregar qui venla tutta dcvota - c pia. ieaccenna vergo la Madonna dalla quale Angelotti trasse la chiave) Cavaradossi (aorridendo) E vcro. E tanto ell'era infervorata nella sua preghiera ch'io ne pinsi, non visto, il bel sembiante. Sagrestano (Fuori, Satana, fuori !) Cavaradossi Dam mi i colori ! (H Sagrestano eeegnisce. C.'avaradoBsi dipinge con rapidita e si sofferma epesso a riguar dare : il Sagrestano va e vienc, portando una catinella entro la quale continua a la- vare i pennelli). IA un tratto Cavaradossi si rista di dipingere; leva di tasca un medaglione contenente ana miniatnra e gli occhi suoi vanno dal medaglione al quadro) APT * (He looks into the basket) No, wrong again. Nothing has been touched here. file steps down from the dais. The Angelus is rung. He kneels, and intones tht prayer. Bell. Enter Cavaradossi L. He sees the Sacristan kneeling) Cavaradossi What now ? Sacristan (rising) Only the Angelus. (Cavaradossi ascends the dais and uncovers the picture, which represents a Mary Magdalen wilh large blue eyes and masses of golden hair. The painter stands facing it, gazing upon it in silent and intent contemplation. Turning towards Cavaradossi to speak to him, the Sacristan catches sight of the uncovered pictur* and exclaims in great amazement :) Saints and Martyrs ! It is the portrait... Cavaradossi (turning towards the Sacristan) Of whom ? Sacristan Of that fair lady who, day by day, lately, to pray came hither. (reverently bowing before the Virgin's image beneath which Angelotti had found tl> key) Deeply devout was her worship... Cavaradossi (smiling) Ay, truly ! While thus absorbed in her devotions, plunged in dreamy rapture then unseen, I depicted her lovely semblance. Sacristan (scandalized) Get thee, Satan, behind me ! Cavaradossi (to the Sacristan, who obeys him) Give me the colours ! the begins to paint rapidly, often pausing to look at his own work, while the Sacristan fidgets backwards and forwards, eventually picking up the brushes and dabbling them in a bucket at the foot of the scaffolding. Cavaradossi suddenly stops paint- ing, takes out of his breast-pocket a medallion containing a miniature, and compare* the latter with the picture on the easel) ATTO PRIMO Recondita armonia di bellezze diverse !... E bruna Floria, Pardente amante mia, e te, nobile fior, cinge la gloria dell'ampie chiome blonde ! Tu azzurro hai 1'occhio e Tosca ;>a Pocchio nero ! L'arte nel suo mistero le diverse bellezze insiem confonde: raa nel rilrar costei il mio solo pensier, Tosca tu sei 1 Sagrestano (fra 8OSSI - ANGELOTCT. Cavaradossi (al cigolio della serratura si vclta) Gente 1& dentro ! (al movimento fatto da Cavaradossi, Angelotti, atterrito si arresta come per rifngiarri anrora nclla Cappella ma alzati gli occhi, un grido di gioia, che egli soffoca tosto timoroso, erompe dal suo petto. Egli ha riconosciuto il pittore e gli Blende le braccia come ad un aiuto insperato) Angelotti 'Voi 1 Cavaradossi 1 Vi manda Iddio ! Cavaradossi Ma... Angelotti (va fln sotto I'impalcato) Non mi ravvisate? II carcere mi ha dunque assai mutato Cavaradossi II carcere ?... tCavaradoesi guarda flso II volto di Angelotti, e finalmente lo ravrisa. Depone rapido tavolozza e pennelll, scende dall'impalcato verso Angelotti, guardandosl cauto intorno) Angelotti ! Angelotti Appunto. Cavaradossi n Console spenta repubblica romana. (corre a chindere la porta a destra) ACT I. Cavaradossi Go! Sacristan I gO. (Exit C7.) (Cavaradossi continues to work, turning his back to the Chapel Angelotti, believing the Church to be empty, appears behind the railing, and uses whe key to open it) Cavaradossi (hears the lock creak, and turns round) Someone is in there ! (Angelotti, alarmed by Cavaradossi's movement, is about to tafce refuge anew in the Chapel, but utters a half-stifled cry of gladness on recognising the painter, towards whom he advances open-armed, as to an unhoped-for rescuer) Angelotti You ! Cavaradossi 1 God sends you to me ! (Cavaradossi does not recognise Angelotti, and remains on the dais, petrified by amaze- ment. Angelotti, craving recognition, approaches him) Have you quite forgotten ? Has prison-life transformed me out of knowledge ? Cavaradossi (recognising Angelotti, hastily sets down his palette and brushes, and descends from the dais looking cautiously around him) Angelotti ! The Consul of the moribund Roman Republic J (hastens to close the church-door L) ATTO PRIMO Angelotti Fuggii pur ora da Castel Sant' Angela... Cavaradossi Disponete di me. Voce di Tosca Mario ! (alia voce di Toeca, Cavaradossi fa un rapido cenno ad Angelotti di tacere) Cavaradossi Celatevi ! E una donna... gelosa. Un breve istante e la rimando. Voce di Tosca Mario ! Cavaradossi 'verso la porta di dove viene la voce di Toeca) Eccomi ! Angelotti (colto da un acceeso di debolezza si appoggia air impalcato) Sono stremo di forze - non mi reggo. Cavaradossi (rapidiseimo, sale null' Impalcato, ne discende col paniere e incoraggiando Angelotti, to jpinge verso la Cappella) In questo panier vi e 1 cibo e vino. Angelotti Grazie ! Cavaradossi Presto I (Angelotti entra uella Cappella). CAVAEADOSSI - TOSCA. Mario! Voce di Tosca (chiamando ripetutamente stizziU) ACT I. < Angelotti (advancing towards Cavaradossi) 1 have escaped but now from Fort San Angelo.., Cavaradossi (generously) Can I do aught to help you ? Tosca (from without) Mario! Cavaradossi (hearing Toaca's voice, makes a sign to Angelotti enjoining him to Keep silence) Conceal yourself 1 The most jealous of women... Within a minute I'll dismiss her. Tosca Mario 1 ( as before) Cavaradossi (in reply) Here I am ! Angelotti (overcome by weakness, leans against the scaffolding) I am hungry and weary and exhausted... Cavaradossi (produces the basket from beneath the scaffolding, and gives it to Angeiottlj See, here is good store of food and liquor. Angelotti Thank you ! Cavaradossi targing Angelotti forward towards the Chapel} Plasten ! (Angelotti enters the Chapel) Tosca (irritated) Iferio I Mario ! Mario 1 Cavaradossi (apre) Son qui ! Tosca (entra con an. pecie di violenza, allontana bruscamente Mario che vuole abbracciarlt, e guarda sospettosa intorno a se) Perche chiuso ? Cavaradossi Lo vuole il Sagrestano. Tosca A chi parlavi ? Cavaradossi Ate! Tosca Altre parole bisbigliavi. Ov'e?... Cavaradossi Chi? Tosca ColeiL. Quella donna!... Ho udito i lesti passi e un frusclo di vesti... Cavaradossi Sogni ! Tosca Lo neghi ? Cavaradossi Lo nego e t'amo ! ( per baciaria) Tosca (con dolce rimprorero) Oh ! innanzi la madonna. Lascia pria ch'io 1'infiori e che la preghi. (ef awicina alia Madonna, dispone con arte, intorno ad essa, i flori che ha portato CMI ed, *>i inginocchla e prega con inolta devozione, poi e'alza) 1C ACT I. Cavaradossi (feigning calm, opens the door to Tosca) I am here ! Tosca (enters impetuously, looking suspiciously about her. Cavaradossi approaches her t* embrace her; she repels him brusquely) Why lock the door ? Cavaradossi (feigning indifference) By the Sacristan's order. Tosca To whom wert speaking* Cavaradossi To thee ! Tosca To someone else I heard thee whisp'ring. Where is she ? ) Cavaradossi Who? Tosca Why, she !... Your fair lady !... Her footsteps and the swish of her skirts I heard quite plainly ... Cavaradossi Fancies ! Tosca Was't not so ? Cavaradossi (passionately) 'Twas not, beloved ! (tries to embrace her) Tosca (gently reproving him) Ob ! before the good Madonna ! No, Mario mine ; let me pray to her first, and make my off'ring ! (she reverently adorns the Virgin's image with the flowers which she had brought with her for that purpose; then kneels down, prays devoutly, crosses herself, and arises. To Cavaradossi, who, meanwhile, has made preparations to resume work) ATTO PRIMO (a Cavaradossi, che si 6 avviato per riprendere il lavoro) Ora stammi a sentir - stassera canto, ma e spettacolo breve. - Tu mi aspetti snll'uscio della scena e alia villa ne andiam soli e soletti. Cavaradossi (che f u sempre soprapeneieri) Stassera? I Tosca E luna piena ed il notturno effluvio floreale nebria il cor. - Non sei contento? Cavaradossi (ancora un po' distratto e perltoso) Tantoj Tosca (colpita da quell'accento) Tornalo a dir ! Cavaradossi Tanto 1 Tosca Lo dici male: (va a sedere sulla gradinata presso a Cavaradossi) non la sospiri la nostra casetta che tuttu ascosa nel verde ci aspetta? nido a noi sacro, ignoto al mondo inter. pien d'amore e di mister? Oh al tuo fianco sentire per le silenziose stellate ombre, salire le voci delle cose! T)ai boschi, dai roveti, dall'arse erbe, dall'im dei franti sepolcreti odorosi di timo, la notte escon bisbigli di minuscoli amori e perfidi consigli che ammolliscono i cuori. ACT I. ft And now listen to me. To-night I'm singing, but the piece is a short one. At the stage door await me without fail, and we'll run off to the villa by stealth together. Cavaradossi (absently) This evening? Tosca The moon is full, and all the scents that rise from fragrant flow'rs perfume the night. Will that not please you ? (she eita down on the dais-step, close to Cavaradossi) Cavaradossi Surely I (absently) Tosca (struck with his indifference) Say it again ! Cavaradossi (as before) Surely. Tosca (vexed) Thou say'st it badly. Dost thou not long for our cottage secluded, From which all cares and vexations are excluded ? Sweet, secret nest, in which we love-birds hide, Safe and happy, side by side. When the skies are calm and clear, We'll listen to the voices That only lovers Lear When Nature herself rejoices From all the flowers that bloom in tha ; ; earthly Aidenn, Late breezes, with summer fragrance laden, [sensation, Cull perfumes that, blended, evoke a strange mysterious Rife with subtle and sweet intoxication. Florite, o campi iramensi, palpitate aure marine nel lunare albor, piovete volutta, volte stellate! Arde a Tosca nel sangue il f olle amor ! Cavaradossi (vinto, ma vigilante) Mi avvinci ne'tuoi lacciL. SI verr6 raia sirena! (guarda verso la parte donde uscl Angelotti) Ma or lasciami al lavoro. Tosca Mi discacci ? Cavaradossi Urge 1'opra, lo sail Tosca Vado ! ( a i z a gli occhi e vede II quadro) Chi 6 quella donna bionda lassii ? Cavaradossi La Maddalena. Ti place ? Tosca il troppo bella! Cavaradossi. (ridendo ed inchinandosi) Prezioso elogio. Tosca (soepettosa) Ridi? Quegli occhi cilestrini io gi& li vidi.. Cavaradossi (con indifferenza) Ce n'6 tanti pel mondo 1 Tosca (cercando ricordare) Aspetta... Aspetta... 1'Attavanti ! Cavaradossi (ridendo) Brava ! 1 ACT t. The babbling brooks, the rustling leaves and grasses, The night-birds belated, the chirping red-breast and cooing turtle-dove Murmur the story of the joy that all surpasses, Tell the tale of ardent love. Cavaradossi Thou hast caught me in thy toils, my fair enchantress. Siren sweet, I will come I Tosca My beloved ! (leans her head against Cavaradossi's shoulder. Straightway he draws back a little fixing his gaze upon the Chapel-gates) Cavaradossi Now leave me to my labours. Tosca (surprised) You dismiss me ? Cavaradossi I must work, child, as thou knowest. Tosca (showing vexation, rises) I am going ! moves away from Cavaradossi, but, looking, back, perceives the picture, and returns U Cavaradosr-i, much agitated) Pray, who is that fair-haired woman there ? Cavaradossi A Magdalen, (calmly) Do you like her ? Tosca She is too handsome. Cavaradossi (bowing and smiling) A flatt'ring judgment 1 Tosca (suspiciously) Smil'st thou ? I fancy I have seen those blue eyes somewhere.,, Cavaradossi (with indifference) They're by no means uncommon!... Tosca (striving to remember) A moment. (ascends the dais, and exclaims triumphantly) The Attavanti! Cavaradossi (laughing) Brava 1 ATTO PRIMO Tosca (cieca di gelosia) La vedi? Ti ama? Tu 1'ami? Quei passi, quel bisbiglio... Qui stava pur ora ! Ah la civetta I A me! Cavaradossi (serio) La vidi ieri ma fu puro caso. A pregar qui venne... e la ritrassi non visto. Tosca Giura ! Cavaradossi (8erio) Giuro ! Tosca (sempre cogli occhi rivolti al quadro) Come mi guarda fiso! Cavaradossi (to ipinge dolcemente a scendere dalla gradinata. Esea discende all'indietro tenendc alto le sue mani in quelle di Cavarudossi. Tosca scendendo ha seinpre la faccia "erso il quadro cui Mario da le spalle) Vien via... Tosca Di me, beffarda, ride, (sonascesi) Cavaradossi Follia ! da Tiene presso di fid fiseandolain viso Tosca (inaistente) Ah, quegli occhi... quegli occhi !... Cavaradossi Quale occhio al mondo mai pu6 star di paro al limpido ed ardente occhio tuo nero? In quale mai dell'anima il mistero si riveld piii subito e pin. chiaro? E questo il desiato e questo il caro occhio ove I'esser mio s'affisa intero. Occhio all'amor soave, all'ira fiero quale altro al mondo ti pud star di paro ? ACT r. Tosca (devoured by jealousy) Thou see'st her ? She loves thee? Thou lov'st her ? Cavaradossi (reassuringly) Thou art mistaken... Tosca (not listening to him, in her jealous rage) Those footsteps ... and all that whisp'ring... Ah 1 for her you have betrayed me... Cavaradossi What nonsense! Tosca That hideous creature! (menacingly) For her J Cavaradossi (gravely) I saw her yestern by the merest chance. She hither came to pray, and unseen I sketched her features... Tosca Swear it! Cavaradossi I SWear it (gravely) Tosca (gazi'ig steadfastly at the picture) See how she stares, the harpy !... Cavaradossi Away, love! Tosca As though she loathed and scorned me. Cavaradossi (gently urging her to descend the steps) What folly! e comes down backwards, holding both Cavaradossi's hands, and never taking het eyes off the picture. Cavaradossi presses her to him fondly, looking lovingly inta her eyes) Tosca (softly reproaching him) (See P. P. Score for missing words.) Ah! those eyes!... Cavaradossi No eyes on earth not the brightest and clearest- Are as lustrous as thine, tliou ever dearest!... Why dost thou doubt me ? What is't thou fearest T... Why would thy jealous fancy fain discover A faithless heart in the loyal breast of thine own constant lover ? TOSCA Tosca (rapita, appoggiando la testa alia epulla di Cavaradosei) Oh come la sai bene 1'arte di farti amareL. (sempre insietendo nella sua idea) Ma... falle gli occbi neri! Cavaradossi Mia gelosa! Tosca SI, lo sento... ti tormento senza posa. Cavaradossi Mia gelosa! Tosca Certa sono - del perdono se tu guardi al mio dolor! Cavaradossi Ogni cosa in te mi piace; 1'ira audace e lo spasimo d'amorj Tosca Dilla ancora la parola che consola... dilla ancora! Cavaradossi Si, mia vita, amante inquieta, diro sempre: " Floria, t'amo!" Se la dolce anima acquieta " T'amo!" sempre ti dird! Tosca (sclogliendosi, pauro-ad'esser vinta) Dio, Dio! quante peccata! M'hai tutta spettinata. Cavaradossi Or va - lasciami ! Tosca Tu fino a stassera stai 11, fermo al lavoro. E mi prometti che sia caso o fortuna, sia treccia bionda o nera, a pregar non verra, donna nessuna? ACT I. Tosca (carried away, and resting her head on his bosom) Whether thou'rt false or faithful, Mario, I must believe thee. But (maliciously) let her eyes be black ones I Cavaradossi (tenderly) Jealous darling! Tosca Yes, I feel that I torment thee without reason. Cavaradossi Jealous darling! Tosca And I know thou wilt forgive me, for I hate to give thee pain. Cavaradossi My Tosca, dear adored one, ev'ry mood of thine is charming ; e'en thy anger is an ecstacy of love ! Tosca Oh, repeat those words consoling. If you love me, pray repeat them ! Cavaradossi My own mistrustful angel, I shall always dearly love thee I Yes, anxious spirit, 1 shall love thee till I die! Tosca Seel it is really disgraceful 1 My hair is quite dishevelled. Cavaradossi Now go ; leave me. Tosca Continue to work at your picture till nightfall, And you must promise that no pious lady, no fair or dusky beauty, shall be admitted here on any pretext 1 ATTO PRIMO Cavaradossi Lo giuro, amore!... - Va! Tosca Quanto mi affretti! Cavaradossi (con dolce rimprovero vedendo rispuntare la gelosia) Ancora ? Tosca (cadendo nelle sue braccla e porgendogli la guanci*) No - perdona! Cavaradossi (sorridendo) Davanti la Madonna ? Tosca E tan to buona! (nn bacio e Tosca esce correndo). CAVARADOSSI - ANGELOTTI. (Appena uscita Tosca, Cavaradopsi eta afcoltaiidone i pass! allontanarsi, poi con pre canzione eocchlode 1'uscio e guarda fuori. Vieto tutto traDquillo, corre alia Cappella. Angellotti appsre snbito dietro la cancellata). Cavaradossi (aprendo la cancellata ad Angelotti, che naturalment ha dovuto udire 11 dialogo pre cedente) % E buona la mia Tosca, ma credente al confessore nulla tien celato, ond'io mi tacqui. E cosa piii prudente. Angelotti Siam soli ? Cavaradossi SI. Qual'6 il vostro disegno ? Angelotti A norma degli erenti, uscir di Stato o star celato in Roma. Mia sorella.. Cavaradossi L'Attavanti ? Angelotti SI,... ascose un muliebre abbigliamento la sotto 1'altare... vesti, velo, ventaglio. Appena imbruni indosserd quei panni... Cavaradossi I promise, beloved!... Go! Tosca Why should I hurry? Cavaradossi (reproachfully) Again, love? Tosca (falls iuto his arms) No! forgive me! (offers her cheek to hie lipe) Cavaradossi (jestingly) Before the good Madonna ? Tosca (saluting the image) She won't be angry ! (about to leave, she again gazes at the picture, and says malir-'euily) But let her eyes be black ones ! exit hastily. Cavaradossi remains on the stage, plunged in thought. Remem Angelotti, he listens to Tosca's retreating stvps>, opens the side-door and looks on Seeing thatalliquiet,he hurries bark to the chapel. Angelotti appears behind the rail- ings, which Cavaradossi opens, letting Angelotti out of the chapel. They shake hand* affectionately) Cavaradossi (to Angelotti, who, of course, has heard the preceding conversation) My Tosca is true-hearted, but indiscreet. She cannot keep a secret from her old Confessor. So I deemed 'twere wiser to keep your counsel strictly. Angelotti Are we alone ? Cavaradossi Yes. What plan have you concocted ? Angelotti As prudence shall dictate, I shall cross the frontier, or lie hidden in the city... My sister... Cavaradossi The Attavanti? Angelotti Yes... Concealed a full suit of woman's garments, there, under the altar... The costume lacks nothing essential... (looks nervously around him) 'Twill serve after dark as a disguise. What say you ? TOSCA Cavaradossi Ora comprendol Quel fare circospetto e il pregante fervore in giovin donna e bella m'avean messo in sospetto di qualche occulto amorel... Era amor di sorella! Angelotti Tutto ella ha osato onde sottrarmi a Scarpia scellerato! Cavaradossi Scarpia ? ! Bigotto satiro che affina colle devote pratiche - la foia libertina - e struraento al lascivo talento fa il confessore e il boia I Vi salvero, ne andasse della vita ! Ma indugiar fino a notte e mal sicuro. Angelotti Temo del sole ! Cavaradossi (indicando) La cappella mette ad un oroto mal chiuso - indi un canneto mena lungi pei campi a una mia villa. Angelotti Mi e nota. Cavaradossi Ecco la chiave - innanzi sera io vi raggiungo - portate con voi le vesti femminili. Angelotti (raccoglie in fascio le vestimenta sotto 1'altare) Ch'io le indossi? Cavaradossi Per or non monta, il sentiero e deserto. Angelotti (peruecire) Addio I Cavaradossi Let us hope so ! Such circumspect demeanour, and devoutness so prayerful, in such a youthful beauty; I fancied these were symptoms of some subtle love intrigue !... Bow I wronged her ! She was trying to save you 1 Angelotti Reckless of danger, she strove to rescue me from Scarpia's clutches. Cavaradossi Scarpia ? A bigoted satyr and hypocrite, secretly steeped in vice and most demonstratively pious ; sanctimonious, lascivious, and cruel ; a cross 'tween confessor and hangman ! (indignantly) I'll save you, should it cost even my life J To delay until night is scarcely prudent... Angelotti Daylight affrights me !... Cavaradossi (pointing towards the chapel) From the chapel-door you enter a garden. Thence runs a roughish path, which, traversing some fields, leads to my villa... Angelotti I know it. Cavaradossi Here is the door-key. Before 'tis dark I will rejoin you. Take with you the clothes here concealed by your fair sister. Angelotti (picks up the garments hidden under the altar) Must I wear them ? Cavaradossi I think you need not, for the path is deserted. Angelotti (going out) Farewell, then 1 ATTO PRIMO Cavaradossi (accorrendo verso Angelotti) Se urgesse il periglio, correte al pozzo del giardin. L'acqua e nel for. do. ma a mezzo della canna (e sporgon pietre ad agevol discesa) un picciol varco guida ad un antro oscuro, rif ugio impenetrable e sicuro ! (nn colpo di cannone ; i due ei guardano agitatissimi) Angelotti II cannon del castello ! Cavaradossi Fu scoperta la fuga ! Or Scarpia i suoi sbirri sguinzaglia ! Angelotti Addio ! Cavaradossi (con subita risoluzione) Con voi verrd. Staremo all'erta ! Angelotti Odo qualcun ! Cavaradossi (con entusiasmo) Se ci assalgon, battaglia ! (escono rapidamente dalla Cappella). SAGRESTANO - ALLIEVI E CANTORI DELLA CAPPELLA - CHIEBICI - CONFKATELLI. Sagrestano (entra correndo, tutto scalmanato, gridando) Sommo giubilo, Eccellenza ! (guard* vereo 1'impaJcato e rimane sorpreso di non trovarvi neppure questa volta 11 Non c'e piii ! Ne son dolente ! Chi contrista un miscredente si guadagna un'indulgenza ! (accorrono da ogci parte chierici, confratelli, allievi e cantorl della Cappella. Tuttf cottor o entrano tnmnltaosamente) Tutta qui la cantoria ! Presto !... (altri allievi entrano in ritardo e alia flue el radunano tnttf) Cavaradossi (follows him hurriedly) Should danger be urgent, iake refuge in the garden well. Just half-way down you will find a narrow passage connecting the old well with a vast, dark cellar. There hidden, you will be in perfect safety. (A cannon-shot : they exchange glances of alarm) Angelotti The cannon of the fortress ! Cavaradossi Your escape is discovered ! Now Scarpia his hounds is unleashing. Angelotti Farewell, then ! Cavaradossi (resolutely) I'll go with you. We will evade them ,! Angelotti I hear a step ! Cavaradossi (enthusiastically) We'll show fight if they follow ! (Exeunt quickly through the chapel) (Enter Sacristan hurriedly, well-nigh breathless, exclaiming :) Sacristan Glorious news, your Excellency ! (astounded at not seeing Cavaradossi seated before the easel) Now, that's a pity ! He who grieves an unbeliever gains a plenary indulgence I (Boys rush in riotously from all the entrances. Enter Acolytes, Penitents. Choristei*. and Pupils of the Chapel) Sacristan Hither all the singing crew ! Hither \ TO8CA Allievi (colla massima confusione) Dove? Sagrestano In SagreStia. (epinge alcuni chlerici) Alcuni Allievi Ma che avvenne ? Sagrestano Nol sapete ? Bonaparte... scellerato... Bonaparte... Altri Allievi Ebben ? Che fu ? Sagrestano Fu spennato, sfracellato e piombato a Belzebu! Allievi, Cantori, ecc. Chi lo dice ? ^ E sogno ! E f ola ! Sagrestano E veridica parola or ne giunse la notizia ! E questa sera gran fiaccolata , veglia di gala a Palazzo Farnese, ed un'apposita nuova cantata con Floria Tosca ! E nelle chiese inni al Signore ! Presto a vestirvi, non piii clamore ! Tutti (ridendo e grldando gioiosamente) Doppio soldo... Te Deum... Gloria/ Viva il Re !... Si festeggi 1 ''Htoria 1 a ken* i- u _ _ _ - _ . J - U-_T.-_~- - _ _ ----_-._. - - - ^H"" All Whither? Sacristan This way, good people... (pushing them towards the Sacristy) All What has happened ? Sacristan Don't you know ? Buonaparte... the miscreant Buonaparte... All Well, what of him? Sacristan Beaten, crushed, humiliated ; Satan has him on the hip ! All Who can prove it ? What silly nonsense t Sacristan 'Tis the truth, I do assure ye ! Soon the news will be made public. All 'Twill be hailed with loud rejoicing J Sacristan This very evening there will be great doings, Gala performance and torchlight procession, A.lso an apposite brand-new cantata Sung by the Floria with appropriate expression* You singing boys Put on your vestments, make no more noise. Off ! off, without delay ! All fltey bur*? >ut laughing and pay no attention to the Sacristan, who tries in vain to drive tt into the sacristy) Double wages ! Te Deum, gloria ! Long live the King ! This very evening there will be great doings, gala performance, torchlight procession, a brand-new cantata sung by Tosaa. Long live the King ! "Yes, this evening there will be great do ... wenter Scarpia unexpectedly, he stands in the doorway ; seeing him, all are stricken dumb and n*v*tnAleM, as though spell -bound) ATTO PRIMO SOABPIA - SAGBESTAWQ - CANTOBI, ALLIEVI, ecc. SPOLET7A - BlBBI. (Le loro grida e 1e loro ria sono al eolmo, allochd una voce i onica tronca brnsca. mente quclla gazzara volgaredi canti e risa. E carpia: dietro a lui Spoletta e al cuni abirri) Scarpia Un tal baccano in ehiesa! Bel rispetto! Sagrestano (balbettando impaurito) Eccellenza, il gran giubilo... Scarpia Appre state per il Te Deum. (tntti si allontanano mogi: anche il Sagrestano fa per cavarsela, ma Scarpia brusca- mente lo tratiiene) Tu resta! Sagrestano (impaurito) Non mi muovo' Scarpia (:i Spoletta) E tu va, fruga ogni angolo, raccogli ogni traccia ! Spoletta Sta bcne! (fa cenno a due sbirri di seguirlo) Scarpia (ad altri sbirri) Occhio alle porte, ma senza dar sospetti! (ai sagrcstano) Qra a te. Pesa e tue risposte. Un prigionier di State pur or f uggito di Castel Sant'Angelo s' rif ugiato qui. Sagrestano Misericordia! Scarpia Forse c'e ancora. Dov'e la cappella degli Attavanti ? Sagrestano Eccola ! (va al cancello e lo vede eocchiuso) Aperta! Arcangelil E... un'altra chiave ! Scarpia (imperiously) Pray, why this great commotion 'if In a church, too ! (Spoletta and other police-agents follow Scarpia) Sacristan (affrighted and stammering) Excellency...We were overjoyed... Scarpia Make ready, all, for the Te Deum. rhey all sneak out, and the Sacristan is about to follow their example, wheu Scsrpia bids him stay) Stay here 1 Sacristan (alarmed) I obey you ! Scarpia (to Spolietta) And go thou, search ev'ry corner, took sharply about you ! Spoletta I shall so... Scarpia (signals two agents to follow Spoletta) Watch all the doorways. (to other agents of the party) Arouse no suspicion. (to the Sacristan) Now for you ! Answer my questions truly. A prisoner of State escaped, an hour ago, from Fort San Angelo, and he is hidden here... Sacristan Misericordia ! Scarpia He must be here still. Which chapel bears the name of the Attavanti ? Sacristan This is it. (LTOCS np to the railing, and finds it unlocked) Tis open ! Archangels 1 Jhis key is a new one ! (shows kevl Scarpia Buon indizio. Entriamo. (entrano nella Cappella, poi ritomano: Scarpia, assal contrariato, ha fra le man! un ventaglio chiuso che agita nervosamente) Tardi ! Fu grave sbaglio quel colpo di cannone. II mariolo spiccato ha il volo, ma lascid una presa... preziosa - un ventaglio. Qual complice il misfatto preparo ? Uesta pensieroso, poi gnarda attentamente il ventaglio; a un tratto eglt vi scorge nno Btemina) La marchesa Attavanti !... II suo stemma... (guarda intomo, ecrutando ogni angolo della chiesa: i euoi occhi si arrestano suirim- "palcato, sugli uruc.-i del pittore, 8ul quadro... e il npto viso dell'Attavanti gli appare riprodotto nel volto della santa) II suo ri tratto 1 (al Sagrestano) Chi fe' quelle pitture ? Sagrestano II cavaliere Cavaradossi. Scarpia Lui! frmo dji birri che segni Scarpia, torna dalla Cappella portando il paniere che Cava radoesi diede ad Angelotti) Sagrestano (vedendolo) Numi! II paniere! Scarpia (seguitando le sue rifleBsioni) Lui! L'amante di Tosca! Un uom sospetto! Un volterrian! Sagrestano (che andd a guardare 11 paniere) Vuoto? Vuoto! Scarpia Che hai detto ? (vede il birro col paniere) Che f u ? Sagrestano (prendendo il paniere) Si ritrovd nella cappella questo panier. * ACT I. Scarpia That gives a clue... We shall see. (they enter the chapel and return promptly, Scarpia manifestly annoyed, holding it Hla hand a closed fan, which he flutters nervously) A stupid blunder (aside) that gunshot from the fortress; it gave the criminal timely- warning, and he fled. But he left here this bauble... (waving the fan) A love token. What fair accomplice helped him to escape ? .Bunged in thought, carefully inspects the fan, and suddenly catching sight of a coa* )f-arms, exclaims) 'Twas the fair Attavanti !... These are her arms... 3ooks around, examining every nook aud corner of the Church. His attention is caught by the scaffolding, the painter's easel, and the picture, which reproduces the well- known face of the Marchioness Attavanti in a counterfeit presentment of Mary Magdalen) It is ho* portrait. (to the Sacristan) Who painted that picture ? Sacristan (still terror-stricken) Sir Mario Cavaradossi... Scarpia He! Sacristan (perceiving a police-agent, who issues from the Chapel, basket in handt Bless me ! 'Tis his basket I Scarpia (following up his train of thought) He 1 The lover of Tosca ! A man suspected ! An unbeliever ! Sacristan (having looked inside the basket, exclaims in great acupriae) Empty 1 ... Scarpia (catching sight of the agent and the basket) What said'st thou ? Speak up 1 Sacristan (takes the basket from the agent) It has been found inside the Chapel, hidden away. ATTO PR1MO Scarpia Tu lo conosci ? Sagrestano Certo! (6 esltante e pauroso) $] il cesto del pittor... ma... nondimeno... Scarpia Sputa quello che sai. Sagrestano 10 lo lasciai ripieno di cibo prelibato... 11 pranzo del pittoreL. Scarpia (attento, inquirente per scoprir terreoo) Avr& pranzato! Sagrestano Nella cappella ? Non ne avea la chiave n contava pranzar... eisse egli stesso. Ond'io gia 1'avea messo qual mia spoglia al riparo. (mostra dove avea ripoeto il paniere e ve lo laecia) Scarpia (Tutto e chiaro... la provvista - del sacrista d' Angelotti fu la preda !) (scorgendo Tosca che entra frettoloso) Toaca ? Che non mi veda. (ripara dietro la colonna dov'6 la pila dell'acqna benedetia) (Per ridurre un geloso allo sbaraglio A Jago un fazzoletto - a me un v^entaglio !) TOSCA - SCARPIA - SAGRESTAXO. Tosca fcorre al palco sicura di trovare Cavaradossi e sorpreaa di non vederk>) Mario?! Mario? ! Sagrestano (che hi trova al piedi deU'impalcato) II pittore Cavaradossi ? Chi sa dove sia 1'eretico e con chi ? Sgattaiol6, svanl per sua stregoneria. (e ee la evign) AC* L Scarpia Dost recognise it ? Sacristan Doubtless ! It is the painter's basket.... (stammering timidly) but ... notwithstanding.... Scarpia (vehemently) Spit out all that you know ! Sacristan (still affrighted, tearfully holds up the empty basket) I brought it hither, filled with the best of food and liquor... The painter's mid-day meal ... Scarpia (significantly) Which he has eaten ! Sacristan (making a negative gesture) Not in the Chapel ! for he had not the key, nor did he mean to eat at all ... at least, so he told me. Hence I had set it down there, (pcinta to the place where he had left the full basket) 'neath the easel. (Painfully impressed by Scarpia's stem and silent bearing) (Deliver us from temptation !) (to himself) Scarpia (aside) 'Tis clear as daylight ... The provisions of the Sacristan were devoured by Angelotti. TJnter Tosca nervously ; she walkes straight np to the scaffolding. Not finding Cavaradossi there, in .rreat agitation, she searches for him in the central nave of the church Scarpia, as soon as he sees her come in, instantly hides behind the pillar to which the holy-water trough is affixed, imperatively signalling the Sacristan to stay where he is The Sacristan, trembling w ith confusion, stands near the paluter's dais), Tosca ! She must not see me. Twas a 'kerchief lit Othello's jealous fire, Now shall this fragile fan rouse Tosca's ire 1 Tosca (returns to the dais, calling out loudly and impatiently) Mario ! Mario ! Sacristan (approaching her) Do you mean Cavaradossi ? Where he is, who can say ? Obedient to some spell, he vanished clean away. (exit furtively) Tosca Ingannata? No... no... tradirmi egli non puo ! Scarpia la girato la colonna e el prescnta a Tosca, porpresa del suo snblto apparire. Intingc le dita nella pila e le oflre 1'acqua benedetta ; f uori euonano le campanp che invitano alia chiesa). Tosca divina la mano mia la vostra aspetta - piccola inanina, non per galanteria ma per offrirvi 1'acqua benedetta. Tosca (tocca le dita di Scarpia e si fa il segno della croce) Grazie, signer ! (_ oco a poco entrauo in chiesa, e vanno nella navata principale, popolani, borghesi, ctociare, trasteverine, soldati, pecorari, ciocinri, mendicanti, ecc.: poi un t'ardiuale, col Capitolo, si reca nil 'alt are magglore ; la folia, rivolta verso 1'altare maggiore, i accalca nella navata principale). Scarpia Un nobile esempio il vostro - al cielo piena di santo zelo attingete dell'arte il raagistero che la fede ravviva ! Tosca (distratta e pensosa) Bont& vostra. Scarpia Le pie donne son rare... Voi calcate la scena... (con intenzione) ma in chiesa ci venite per pregare. Tosca (sorpresa) Che intendete ? Scarpia non fate Come certe sfrontate che hanno di Maddalena (indica ii ntratt*) viso e costumi... e vi trescan d'amorel Tosca (scatta pronta) vhe ? D'amore ? Le prove! ACT L Tosca Has he betrayed me ? No ! To me he could not be untrue. Scarpia tturu- round the pillar, dips his fingers in the trough, and offers holy water to Tosca Bells ring to church) Tosca divinest, (gently asd insinuatingly) your dainty hand, that milk-white wonder, lend me for a moment, that I may lightly touch it with my uncouth fingers dipped in holy water ... Tosca (touches Scarpia's fingers, and crosses herselt) Thanks, many thanks ! Scarpia No woman alive does nobler work than you. From heaven, teeming with fervid sanctity, you conjure to earth the sacred raptures that give life to religion. Tosca (thoughtful and inattentive) Spare my blushes. (Several people enter the church and gather together up the stage) Scarpia Pious songsters are rare, But you, the star of the lyric stage, Hither come to bend your knees in prayer. (Bells ring to church) Tosca (surprised) What mean you ? Scarpia You are not like certain frivolous wantons ; (points to the portrait) Magdalens they simulate profanely, and come here to meet their lovers. (Emphatically.) Tosca (starting) How ? Their lovers ? What mean you ? PRIMO Scarpia (mostra 11 ventag E arnese di pittore questo ? Tosca (lo afferra) Un ventaglio? Dove stava? Scarpia La su quel palco. Qualcun venne certo a sturbar gli amanti ed essa nel fuggir perde le penne! Tosca (csaminando il ventaglio) La corona! Lo stemma! E 1'Attavantil Ah presago sospetto! Scarpia (Ho sortito 1'effetto!) Tosca (trattenendo a stento ]e lagrime, dimentlca del luogo e di Scarpia) Ed io venivo a lui tutta dogliosa per dirgli: invan stassera ai sospirosi amanti il ciel s'infosca 1'innamorata Tosca del regali tripudi e prigioniera!... Scarpia il veleno 1'ha rosa.) (mellifluo a Toecal) O che v'offende, dolce signora ? Una ribelle lacrima scende sovra le belle guancie e le irroraj dolce signora, che mai v'accora? Tosca ACT I, 90 Scarpia (showing her the fan) Is this a painter's brush or mahlstick f Tosca (seizing it) Tis a fan ! Where did you find it ? Scarpia There, on the easel. (Enter the peasants) Some casual worshippers disturbed the lovers, and in her hasty flight she dropoed some feathers !.. Tosca (examining the fan) A coronel 1 Her arms, too ! 'Tis Attavauti's ! Prophetic suspicion ! Scarpia 'aside My -le*igu has succeeded J Tosca 'jwrrowfnlly, restraining her tears with difficulty, forgetful of the locality and of Scarpia) And I who sought him here, oppressed with sorrow, To say I could not meet him till to-morrow... That Tosca, to her grief and consternation, Would have to figure at this evening's celebration,. Scarpia (aside) How the poison is working ! (enter groups of peasants, carters, etc.) (gently) What has aggrieved you, Sweetest of creatures ?... Say, has some traitor basely deceived you, That tears bedew those exquisite features ? Tell me, fair Tosca, what has aggrieved you* Tosca Nothing ! M T&SCA. ^ Scarpia (insinnante) lo darei la vita per asciugar quel pianto. Tosca (non ascoltandolo) lo qui mi struggo e intanto d'altra in braccio ei le mie smanie deride J Scarpia (Morde il veleno.) Tosca (sempre piu crucciosa) Dove son ? Potessi coglierli i traditori. Oh qual sospettol Ai doppi amori la villa ricetto. (con immense dolore) Oh mio bel nido insozzato di fango! (con pronta risoluzione) Vi piomberd inattesa. (rivolta al quadro, minacciosa) Tu non 1'avrai stanotte. Giuro! Scarpia (gcandolezzato, quasi rimproverandola) In chiesal Tosca Dio mi perdona. Egli vede ch'io piango! (parte .'n grande agltazione: Scarpia 1'accompagna, fingendo di raesicurarla. Appena nscita Tosca, Scarpia ritorna preseo la colonna e fa un cenno). Scarpia (a Spoletta che sbnca di dietro la colonna) Tre sbirri... Presto - seguila dovunque vada... non visto... e provvedi! Spoletta Basta. D convegno ? Scarpia A Palazzo Farnese ! QBpoletU parte rapidamente con tre abirri) M ACT 1. Scarpia My life I'd give, could I mitigate your anguish. Tosca (not listening to him) And here in grief I must languish, While, embraced in other arms, he derides me ! Scarpia (Well works the poison !) (aside) Tosca Where am I? (A few citizens stroll In) How could I think he would yield to temptation ? My pretty villa ! (angrily) Must I submit to its vile profanation ? Cruel Mario ! In mire my nest of love they have been steeping J (resolutely) I'll purge it of their vileue'ss ! (tarns threateningly towards tha picture) To-night thou shalt not possess him 1 (desperately) I swear it ! Scarpia (scandalised) In church 1 Fie I Tosca (weeping) God will forgive me, for He sees I am weeping J (obs bitterly. Scarpia accompanies her to the door, pretending to reassure her. After her exit, the church becomes gradually fuller and fuller. Having escorted Tosca to the church-door, Scarpia returns to the chapel-sate and makes a sign, in obedience to which Spoletta issues from behind the pillar. The crowd withdraws to the back ^* the church, awaiting the Cardinal; some kneel down and pray) Scarpia Three agents, and a close carriage... Quickly... follow her whithersoever she may go... Be careful J Spoletta I will Where shall I find you ? Scarpia At the Farneee Palace ! (Exit Spoletta hurriedly. S carpi* -mU .ardoaicfcllf) ATTO PRIMO Va, Tosca ! Nel tuo cuor s'annida Scarpia. Egli ti segue e ti sospinge. l Scarpia che scioglie a volo il falco della tua gelosia. Quanta promessa nel tuo pronto sospetto ! A doppia mira tendo il vcler, n il capo del ribelle 6 la piii prez'iosa. Ah di quegli occhi vittoriosi vedere la fiaroma illanguidir nello spasmo d'amore ! La doppia preda avr6. L'uno al capestro, 1'altra fra le mie braccia... me ne affida i'invincibil deslo... (1 canto eacro dal 'ondo della chlesa lo scuote, come svegliandolo da an eogno. mettwpd Tosca Tu?... Scarpia Si, e t'avr6! Tosca (correndo alia flnestra) Pria giu mi awento! Scarpia (freddamente) In pegno 11 tuo Mario mi resta!... Tosca L'orribile mercato!... (per Biibita idea) Ah! - la regina!... Scarpia (kooioo) Non ti trattengo. - Va. - Libera sei. Ma d fallace speranza: la Regina iarebbe solo graeia ad un oadavere! Vooca retrooda spaventata, fissendo Scarpia si laecia cadere sul canape ; poi stsrw gli occbi da Soarpta oon an geeto di supremo disgusto e di odio) Oome tu m'odii! Tosca Ah! DioL. Scarpia (ivvicinandosele) Cosl ti voglio ! JCT ft. 41 (excitedly) Goddess of song, you have scorned me and braved me. 'Twas your beauty that made me love yon, 'tis your hatred that has enslaved me ; When I saw your cheeks bedewed with tears of consterna- tion, Shed by lustrous eyes that fiercely sparkled with scorn and detestation, When you clung to your lover like an amorous tigress, Ah 1 'twas at that hour I vowed thou shouldst be mine. "iBe approaches Tosca with open arms ; she, who until now had listened to him without stirring, rises suddenly, horrified by his audacious proposals, and rushes behind the eofa. She screams.) Scarpia (following her) Miae, wholly mine ! Tosca (terrified, rushes to the window and clings to It) No ! far rather will I kill myself ! Scarpia (coldly) Your Mario's life I'll hold in pawn for yours ! Tosca Think you that I will contract so hideous a bargain ? (the Idea of appealing to the Queen occurs to her, and she hurries towards the door) Scarpia (divining her thoughts) I will not force you to stay, (draws aside) You are free to go, fair lady ; (Tosca is joyfully leaving the room when Scarpia, laughing ironically, stays her with a but your hope is fallacious . . . It were vain to ask our gracious Queen to pardon a dead man ! (Tosca turns back terror-stricken and, staring at Scarpia, resumes her seat on the sofa ; then turns her eyes away with a look of suprerae disgust and hatred) How you detest me ! Tosca (with loathing and contempt) Idol Scarpia (approaching her) Tis thus, 'tis thus I love you 1 43 TOSCA Tosca (con ribrezzo) Non toccarmi - demonio - t'odio, 1'odio, abbietto, vile ! (fugge da Scarpia inorridita) Scarpia Che importa ? Sei mia... Spasimi d'ira e spasimi d'amore ! Tosca Vile ! ! Scarpia Mia I ! (cerca di afferrarla) Tosca Vile 1 (si ripara dietro la tavola) Scarpia (insegnendola) Mia... Vosca No - aiuto ! (UB lontano rulle di tamburi a poco a poco si avvicina poi si dilegua lontano) Scarpia (fermandosi) L'odi? is il tamburo. S'avvia. Guida la scorta ultima ai condannati. H tempo passa ! (Tosca, dopo aver ascoltato con ansia terribile, si allontana dalla flnestra e al appoggto, eatenuata, al canape) Sai quale oscura opra laggiu si compia? La si drizza un patibolo. Al tuo Mario, per tuo voler, resta un'ora di vita. (f reddamente ei appoggia ad nn angolo della tavola continuando a guardare Toica) ACT n. Tosca (exasperated) Do not touch me, you demon ! I hate you, you coward, you villain ! Scarpia (approaching her still nearer) What matter ? Hatred like yours and love are kindred passions 1 Tosca Villain ! (blinking behind thfi tat Scarpia (pursuing her) Mine? Tosca Help! (both are stayed by the Bound of distant drama) Scarpia Listen to the drums approaching ; leading the escort of men about to die on the scaffold And time is passing. Know you what dismal preparations my people are completing ? There... (pointing to window) they have raised up a gallows-tree. (Tosca shudders in terror and despair. Scarpia approaches her) 'Tis your will, then, that your fond lover should die in another brief hour? (Broken down by grief, Tosca falls back on the sofa. Scarpia leans against a corner / the table, pours out coffee, and drinks it, with his eyes fixed upon Tosca) ATTO SECONDO Tosca (nel massimo dolore) Vissi d'arte e d'araor, non feci ma male ad anima viva ! Con man furtiva quante pene conobbi, alleviiai. Sempre con fe sincera la mia preghiera ai santi tabernacoli sail. Diedi fiori agli altar, diedi gioielli della Madonna al manto, e diedi il canto agli astri, al ciel, che ne ridean piu belli Nell'ora del dolore perche, Signore, perch & me ne rimuneri cosl ? Scarpia Kavvicinandosi di nuovo a Tosca) Risolvi ? Tosca No! Scarpia Bada... il tempo e veloce ! Tosca Mi vuoi supplice a tuoi piedi ? (inginocchiandosi innanzi a Soarpia) Ecco - vedi - le man giunte io stendo a te I E merce, umiliata e vinta, aspetto d'un tuo detto. Scarpia Sei troppo bella, Tosca, e troppo amante. Cedo. - A misero prezzo tu, a me una vita, io, a te chieggo an istante ) ACT II. 41 Tosca (mournfully) Love and music, these have I lived for, nor ever have harmed a living being... The poor and distressful, times without number, by steaLh, I have succoured... Ever a fervent believer, my humble prayers have been offered up sincerely to the saints ; ever a fervent believer, on the altar flowers I've laid... In this, my hour of sorrow and bitter tribulation, oh! Heavenly Father, why dost Thou forsake me ? Jewels I gave to bedeck Our Lady's mantle ; I gave my songs to the starry hosts in tribute to their brightness... In this, my hour of grief and bitter tribulation, why, Heavenly Father, why hast Thou forsaken me ? Scarpia What say you ? Tosca (resolutely) No! Scarpia Forget not that time flieth swiftly I Tosca (kneels before Scarpia) Must I, kneeling, beg for mercy ? Behold me, pleading here at your feet for pity. Hear me ! Grant my entreaty ! Let me not implore you vainly ! (desperately, yet humbly) Scarpia Too lovely art thou, Tosca, and too enchanting to be resisted. I have the worst of the bargain ; a life I barter against a minute of thy favour J TOSCA Tosca (alzandosi, con senso di gran disprczzo) Va - va - mi fai ribrezzo! (bussano alia port*) Scarpia Chi 6 la? Spoletta (ertrando trafelato) Eccellenza, 1'Angelotti al nostro ginnger si uccise. Scarpia Ebbene lo si appenda morto alle f orche. E 1'altro prigiouiero ? Spoletta II cavalier Cavaradossi ? E tutto pronto, eccellenza. Tosca (Dio! m'assisti!...) Scarpia (a Spoletta) Aspetta. (aToeca) Ebbene ? CToeca accenna di si col capo e dalla vergogna piangendo si nasconde il Ttao) (a Spoletta) Odi... Tosca Interromp Ma V> voglio... (Interrompendo, subito a Scarpia) Ma libero all'istante Scarpia (aToeca) Occorre simular. Non posso far grazia aperta. Bisogna che tutti abbian per morto il cavalier. (accenna a Spoletta) Quest'uomO fido provvedera. 4 Acrn. Tosca Go! (rising scornfully) You make me shudder ! Go ! (a knock at the door) Scarpia Who's there ? (enter Spoletta in haste and much agitated) Spoletta Excellency, Angelotti swallowed poison when we seized him. Scarpia 'Tis well ! Let them hang up his corpse on the gibbet! And how about the other ? Spoletta You mean the painter, Cavaradossi; He awaits your decision ! Tosca (aside) Heaven help me ! Scarpia (to Spoietta) A moment... (to Tosca, softly) What say you? jehe nods consentingly ; then, weeping for very shame, she buries her head in the sofa cushions) Scarpia (to Spoletia) Hearken... Tosca (interrupting) But he must be set free on the instant ! Scarpia I fear that may not be. I dare not simply release him. It must be believed by everyone here that he is dead, (points to Spoletta) This worthy fellow will arrange alU ATTO SECONDO Tosca Chi mi assicura? Scarpia L'ordin che gli dar6 voi qui presents. (a Bpoletta) Spoletta: chindi. (Spoletta chiode la porta, poi rftoma presso Scarpia) Ho mutaio d'avviso. II prigionier sia fucilato... (Tosca Bcatta atterrita) atteodi... (fissa con iatenzione Spoletta che accenna replicetamente col capo di Indovinare 11 pen slero di Scarpia) Come f acemmo del conte Palmieri. Spoletta Un'uccisione... Scarpia (snbito con marcata intenzione) ...simulata!... Come avvenne del Palmieri!... Hai ben compresoV Spoletta Ho ben compreso. Scarpia Va. Tosca Voglio avvertirio io stessa. Scarpia E sia. (a spoietta) Le darai passo. Bada: all'ora quarta. Spoletta SI. Come Palmieri. CBpoletta part*. Scarpia, ritta preseo la porta, ascolta Spoletta allontanarsi, pot mate nel vieo e nei gexti si avvtcina con grande paasione a Tosca) ACT II. Tosca Can he be trusted ? Scarpia Trust the orders I shall give him, here, in your presence. (taming to Spoietta) SpoleUa ! shut that door. (Spoietta hastens to obey, and then returns to Scarpia, who looks fixedly at him, Spoietta repeatedly indicating by nods that he understands his master's meaning) I have altered my purpose. Cavaradossi will be shot ... pay attention ... just as we did in the case of Palmieri.... Spoietta An execution... Scarpia (emphatically) Simulated ! ... As we did in the case of Palmieri ! Dost understand me ? Spoietta I understand you. Scarpia Go! Tosca (who has listened eagerly, interrupting) And I in person will warn him. Scarpia Be it so. (to gpoletta, pointing at Tosca) You will admit her. Remember : (emphatically) at four o'clock... Spoietta (emphatically) Yes. Just like Palmieri... .lt Spoietta. Scarpia, standing by the door, listens to Spoletta's retreating step* Then, changing his manner and expression, he turns passionately to Toaca) * TOSCA Scarpia Io tenni la promessa... Tosca (arrestandolo) Non ancora. Voglio un salvacondotto onde fuggire dallo Stato con lui. Scarpia (con galanteria) Partir volete ? Tosca SI, per sempre! Scarpia Si adcmpia il vcler vostro. (va allo scrittoio: ei mette a scrivere, interrompendosi per domandare a Tosca:) Qual via scegliete ? JMentre Scarpia gcrive, Tosca si e awicinata alia tavola e colla mano tremante prende il bicchieridi vino di Spagn J - " labbra. scorge, sulla tavola un il bicchieridi vino di Spagna versato da Scarpia; ma nel portare il hicchiere alle labbra. ecorge, sulla tavola un coltello affllato ed a punta; da ana rapida occhiam a Scarpia che in quel momento e occupalo a scrivere - e con infinite pn-canzioni cerca di in.possessarsi del coltello, rispoudendo alle domar.ae di Scarpia ch'essa Tsorveglia attentamente) Tosca La piii breve! Scarpia Dunque Civitavecchia. (ecrivendo) Sta bene ? Tosca Sta bene. (Finalmente ha potnto prendere il coltello, che dissimula dietro di e appoeiandopl alia tavola e sempre scrvegliando Scarpia. Ouestl ha finito di scrivere il salvacondotto, . vi mette il sigillo, npiega il foglio: qumdi aprendo le braccia si avvicina a Tosca rla a tavola e sempre scrvegliando Scarpia. Ouestl ha fini vi mette il sigillo, n per awincerla a sd) Scarpia Ed ora, Tosca, finalmente mia !... (ma 1'accento voluttuoso si cambia in un grido terribfle,- Tosca lo ha colpito In pieno petto) Scarpia Maledettai i Tosca Questo 6 ii bacio di l'o( _ Scarpia I have fulfilled my promise. Tosca Not entirely. I must have a safe-conduct enabling me to quit the country with him. Scarpia (politely remonstrating) You really mean to leave us ? Tosca (positively) Yes, for ever ! Scarpia It shall be as you desire. (goes to the desk and begins to write; breaks off in order to ask Tosca:) By which road will you travel ? Tosca By the shortest ! Scarpia Civitavecchia ? Tosca Yes. (while Scarpia is writing, Tosca approaches the table and, with a trembling hand, takes up the glass filled wir, wine for her by Scarpia; and as she raises it, to her lips, perceives a fhtrp-pointed knife King on the table-cloth. She casts a rapid glance ' deck, and with infinite caution takes possessic id her, leaning on the table and carefully watc Scarpia, who, having fini>-h-d writing the cafe conduct, folds it up, and advances he hide* behind her, leaning on the table and carefully watching ving flni>-h-d writing the cafe conduct, f( ' " towards Tosca with open arms, intending to embrace her) Scarpia Tosca, at last thou art mine !... (alters a terrible cry, as she stabs him full in the breast, and then groars deeply) Thou accurst one ! Tosca (violently) It is thus that Tosca kisses 1 Scarpia (hoarsely) Help me ! I'm dying ! (strives to lay hold of Tosca's dress; she druws back horror-itrktoeni Help! ATTO SECONDO * ;Scarpia stende 11 braccio verso Tosca avvicinandosele barcollante in atto di ainto. Toscea lo sfugge - raa ad un tratto ella 8i trova preea fra Scarpia e la tavola e vedendo che sta per esi-ere toccata da Scarpia, lo aespinge inorridita. Scarpia cade, urlando col la voce suflf ocata dal sangue:) Scarpia Aiuto... aiuto... muoio... Tosca (ftggando Scarplache si dibatte inutilmente e cerca di rialzarsi, aggrappandosi al canapd) E ucciso da una donna... - M'hai tu assai torturato? ! Su! - Parla! - Odi tu ancora ?... GuardamiL. Son la Tosca! Son la Diva!... Son Tosca, o Scarpia! Scarpia (fa nn nltimo sforzo, poi cade rivereo) Soccorso!... Tosca (chinundosi vereo Scaipia) Ti soffoca il sangue?... il sangue?... Muori! muori!! muorill! (vedendolo Immobile) Ah! d morto!... Or gliperdonoL. E avanti a lui tremava tutta Roma! (Senza abbandonare cogli occhi il cadavere. Tosca va alia tavola, vi depone il coltello, preude una bottiglia d'acqna, inzuppa un tovagliolo e ei lava le dita: poi va allo specchio e si ravvia i capelli. Quindi cerca 11 salvacondotto sullo scrittoio: nor tro- vandolo, si volge e lo scorge nella mano raggrinzata del morto: ne toglie il foglio e lo nasconde in petto. Spegne il candelabro sulla tavola e va per uecire, ma si pentee vedendo accesa una delle candele sullo fcritttoio, va a prenderla, accende Paltra, e colloca una candela a destra e 1'altra a sinietra della testa di Scarpia. Alzandosi, cerca di nuovo intorno e scorgendo un crocifieso va a staccarlo dalla parete e portan- dolo religiosamente s'inginocchia pea posarlo sul ptto di Scarpia - poi ai alza e con grande precaozione esce rinchiudendo dietro a se la porta). (Tosca, between Scarpia and the table, and feariug that he will lay hold of her, thrusts him roughly from her. He falls, groaning and well nigh choked by bleed) Ah! Tosca (pitilessly) Are you stifling with blood? Scarpia Help me ! (struggles ineffectually to rise, clutching at the sofa) I'm dying ! Tosca And done to death by a woman ! Say, what mercy didst thou show me? Canst thou still hear me ? (Scarpia makes a final effort, and falls backwards) Answer ! Look at me ! Scarpia, I am Tosca J 1 Your victims' blood chokes you ! (bending over Scarpia's face) Die, thou accurst one 1 Perish ! Scarpia (all but voiceless) Ah! (expires) Tosca He is dead ! Now I forgive him 1 rwithout taking her eyes off Scarpia's corpse, she goes to the table, dips a napkin H the water-jug, and washes her fingers; thun arranges her hair before the looking glass. Remembering the safe-conduct, she looks for it on the desk, and not finding it, searches elsewhere. At last she perceives it, clutc .ed in the clenched fiugers of Scarpia, and lifts up his arm, wbich she lets fall, stiff and stark, when she has possecsed herself of the safe-conduct, which she hides in her bosom. She then constrains herself to contemplate Scarpia'a dead body; she extinguishes the lights on the supper-table, and is about to leave when, peeing one of the candles on the desk still burning, she takes it, and with it lights the other candle) Tosca And, yesterday, trembling Rome lay prostrate at his feet ! (places one candle to the right of Scarpia's head, and the other to the left; again looks round her, and seeing a crucifix hanging on the wall, takes it down and, kneeling, places it reverently on the breast of the corpse. Roll of distant drums, ind slow curtain. Tosca rises and departs cautiously, closing the door tu^er her) ATTO TERZO La piattaforma di Castel Sant'Angelo. A sinistra, una casamatta : vi e collocata una tavola, sulla quale stanno una lampada, un grosso registro e 1'occorrente per scrivere : una panca, una sedia. Su di una parete della casamatta un crocifisso : davanti a questo e appesa una lampada. A destra, 1'apertura di una piccola scala per la quale si ascende alia piattaforma Nel fondo il Vaticano e S. Pieiro. fe ancora notte : a poco a poco la luce incerta e grigia che i -recede 1'alba : le campane delle chiese suonano mattuttiuo. La voce d'un pastore che guida un armento. (Un Carceriere con una lanterna sale dalla scala, va alia casama^ca e vi accende la lampada sospesa davanti al crocifigso, poi qnella sulla tavola : siede ed aspetta mezzc assonnato. Piii tardi un picchetto, comandato da un Sergente die guardia, sale sulla piattaforma accompagnando Cavaradossi : il picchetto si arresta ed il Sergente con- duce Cavaradossi uella casamatta, consegnando un f oglio al Carceriere. - II Carceriere esamina il foglio, apre il registro e vi scrive mentre interroga). IL CAKCEBIEEE - CAVAEADOSSI - UN SERGENTE - SOLDATI. Carceriere Mario Cavaradossi? CararadogBi china il capo, assentendo. II Carceriere porge la penna al Sergente) A voi. (il Sergente firma il registro, poi parte coi soldati, scendendo per la scala) (a Cavaradossi) Vi resta un'ora. Un sacerdote i vostri cenni attende. ACT III. Scene: A Platform of Castle Sant. Angelo. L. A casemate, furnished with a table (on which stand a lautern, a huge register book and writing material^), a be ch and a stool. Suspended to one of the walls, a crucifix and votive lamp. R. A trap door opening on a flight of steps leadim.' to the platform from below. The Vatican and St. Peter's are depicted on the back cloth. Night time. Clear sky, studded with stars. Sheep bells jangle afar off, then gradually nearer and nearer. A Shepherd (in the distance) Day now is breaking, The weary world awaking... (the bells, still more distant, tinkle irregularly) Lending new sorrow And sadness to the morrow. (the tinkling of the sheep bells dies awa/ gradually) If you could prize me, To live I might try, But if you despise me, I may as well die ! (a ditn, grey light heralds the approach of dawn) (Afar off, the church bells begin ringing f .r matins. Enter jailer, bearing a lantern. He emergea from the irap door, enters the casemate, and 1'ghta, firwt the lamp suspended beneath tlie crucifix, and then the lauieru standing on the table. Advancing to the parapet of the plaiform he leans over it and looks dow-n into the courtyard to see if the tiring party, told off to escort the condemned man. has arrived. Meeting a sentry, who is on guard within i he precincts of theplaiform, and having exchanged a few words with him, the jailer returns to the casemate, whre he sits down and waits, half asleep. An infantry picket, comnundud by a sergeant, and in charge of Cava- radossi, ascends to the platform. The men are halted, and I he sergeant conducts Cavaradossi to the casemate, which Ca aradossi enters. The jailer, seeing ihe sergeant, rises and salutes, wnereupon the sergeant hands him a paper, which the jailer examines. Then, seating himself at th table, the jailer opens the register book and writes in it while interrogating Cavaradossi) Jailer Mario Cavaradossi ? (Cavaradossi nods affirmatively) Please sign. (to the sergeant, handing him the pen. The sergeant signs the register-book and desends the steps, followed by the picket. Bell) You have an hour ... (to Cavaradosal) A holy father is nigh, at your disposal ... ATTO TEBZO Cavaradossi No. Ma di un' ultima grazia vi richiedo. Carceriere Se posso... Cavaradossi Io lascio al mondo una persona cara. Consentite ch'io le scriva un sol motto. (togliendosi dal dito un anello) UniCO di mia ricchezza e questo anel... Se promettete di consegnarle il mio ultimo addio, esso vostro... Carceriere 'titnba un poco, poi accetta e facendo cenno a Cavaradosii di sedere alia tavola, va t sedere sulla panca) Scrivete. Cavaradossi {ai mette a scrfvere... ma dopo tracciate alcune linee e invaso dalle rimembranze} E lucevan le stelle ed olezzava la terra - e stridea 1'uscio dell'orto - e un passo sfiorava la rena. Entrava ella, fragrante, mi cadea fra le braccia e mi narrava di se ; di me chiedea con volubile impero. Oh ! dolci baci, o languide carezze, mentr'io fremente le belle forme disciogliea dai veli ! Svanl per sempre il bel sogno d'amore... L'ora e fuggita e muoio disperato !... E non ho amato mai tanto la vita I (scoppia in ainghiozzi). ACT III. Cavaradossi No. But let me entreat you to do me a favour Jailer If possible ... Cavaradossi I leave behind me one whom I cherish fondly. Can you grant me leave to write a few words to her ? Nothing is left of all that I possessed but this little ring ... (takes a ring off his finger) If you will pledge your word to convey my last farewell to her safely, it is yours... Jailer (aft&r a little hesitation, accepts the ring, and signals Cavaradossi to be seated at the table) "Write your letter. (sits down on the bench. Cavaradossi is lost in thought, from which he rouses himself to write. After tracing a few lines, engrossed by memories of the past, he ceases writing) Cavaradossi (thinking aloud) When the stars were brightly shining And faint perfumes the air pervaded, Creaked the gate of the garden, And a footstep its precincts invaded, 'Twas her's, the fragrant creature, In her soft arms she clasped me With sweetest kisses, tenderest caresses, A thing of beauty, of matchless symmetry in form and feature 1 My dream of love is now dispelled for ever.' I lived uncaring, And now I die despairing ! Yet ne'er was life so dear to me, no, never ' (Dalla scala viene Spoletta accompagnato dal Sergente e seguito da Toeca : il Sergente porta una lanteraa - Spoletta accenna a Tosca ove trovasi Cavaradossi, poi cbiama a so il Carceriere : con quest! e col Sergente ridiscende, non eenza avere prima dato ad ana sentinella, che eta in fondo, 1'ordine di sorvegliare il prigioniero). TOSCA - CAVARADOSSI. (Tosca vetle Cavaradossi piangente, colla testa fra le mani : gli si awicina e gli solleva colle due mani la testa. Cavaradossi balza in piedi sorpreso. Tosca gli presenta con- Tulaa nn foglio, non potendo parlare per 1'emozione). Cavaradossi (legge) - franchigia a Floria Tosca... Tosca (leggendo insieme con lui con voce affannosa e convulsa) e al cavalier e che r accompagna. (a Cavaradossi con un grido d'esultanza) Sei libero ! Cavaradossi (guarda il foglio ; ne legge la flrma) Scarpia !... Scarpia benigno? A qual prezzo? la prima sua grazia 6 questa... Tosca E Pulthna ! (riprende il salvacondotto e lo ripone in una borsa) Cavaradossi Chedici?... Tosca II tuo sangue o il mio amore volea. Fur vani scongiuri e pianti. In van, pazza d'orrore, alia 'Madonne mi volsi ed ai Santi... Rideva - il mostro ! - del raio martir .' Dicea : gia negli oscuri cieli i) patibol le brae ;i leva ! Rullavano i tamburi... Rideva, 1'empio mostro... risdeva... gi la sua preda pronto a ghermir ! W ACT III. (bursts into tears, covering his face with his hands. Enter Spoletta through the trap- door, accompanied by Tosca and followed by the sergeant, who carries a lantern. Spoletta points out to Tosca where she will flnil Cavaradossi, and then beckons to the jailer, with whom and the sergeant he re-descends the steps, not without hav- ing given orders to a sentry on guard at the back of the stage to keep close watch upon the prisoner. Tosca, who meanwhile has been manifestly in a state of violent agitation, sees Cavaradossi weeping, rashes up to him, and unable to speak for sheer emotion lifts his head with both hands, showing hi 01 the safe -conduct. On perceiving her he starts to his feet in surprise, and then reads the document which she has handed to him) All ! Safe-conduct to Floria Tosca and to the gentleman, her companion. (in unison with Tosca) Tosca (enthusiastically) Thou art free, my love ! Cavaradossi (perceiving the signature of the document) Scarpia showed mercy ! (looking intently at Tosca) Full surely his first concession I... Tosca (puts away the safe-conduct in her bag) And his last ! Cavaradossi What say'st thou ?... Tosca He exacted thy life or my love !... Entreaties and conjurations Were vain. The saints above Would pay no heed to my wild invocations. He said, the impious monster, " Now the gallows tree is spreading its branches gaily I " The muffled drums were sounding... He laughed, the impious monster, laughed loudly, hovering round his quivering prey !... " Art mine, then ? " " Yes ! " ATTO TERZ0 " Sei raia ? " - SI. - Alia sua brama mi promisi. LI presso luccicava una lama... Ei scrisse il foglio liberator, venne all'orrendo amplesso... lo quella lama gli piantai nel cor. Cavaradossi Tu ?... di tua man 1'uccidesti ! - tu pia, tu benigna - e per me ! Tosca N'ebbi le mani tutte lorde di sangue !... Cavaradossi (prendendo amorosamente fra le sue le mani di Toeca) Oh ! salvatrice ! O dolci mani mansuete e pure o mani elette a belle opre e pietose, a carezzar fanciulli, a coglier rose, a pregar, giunte, per 1'altrui sventure, dunque in voi, fatte dall'amor secure, giustizia le sue sacre armi depose ? Voi deste morte, o man vittoriiose, dolci mani mansuete e pure !... Tosca (svincolando le mani) Senti... 1'ora e vicina ; io gia raccolsi (mostrando la borsa) ore e gioielli... una vettura e pronta. Ma prima, .. ridi amor... pritna sarai f ucilato per finta ad armi scariche. -= Simulate supplizio. Al colpo... cadi. 1 soldati sen vanno - e noi siam salvi ! Poscia a Civitavecchia... una tartana... e via pel mar ! Cavaradossi Liberi ! Tosca Chi si duole in terra piii ? Senti effluvi di rose ?... Non ti par che le cose aspettan tutte innamorate il sole ?.. ACT 1IL tl Thus I avowed myself defeated. He did not see the knife I had secreted... He signed the permit that sets thee free, and gives us license to depart... The glittering blade I drove into his heart ! Cavaradossi Thou? With thine own hand didst thou slay him ? Thou, most pious and merciful of souls I Tosca Yes ; both these hands with his hot blood were reeking !... Cavaradossi (taking her hands lovingly in his own) Oh ! gentle hands, so pitiful and tender ; Soft hands, designed to deck luxuriant tresses With fragrant rosebuds, to bestow caresses, And pray for Heaven's grace to the offender, To you the Fates, grim ministers of death, surrender; Th'impassive steel that base injustice represses. By you was dealt the blow that tyranny suppresses Oh ! gentle hands, so delicate and tender 1 Tosca (freeing her hands from his grasp) Listen... all now is ready; ohows a hand-bap) I have collected my jewels and money... a carriage is in waiting... But first smile, dearest love you must submit to be fired at... In pretence, of course, arid with blank cartridges... a mere mimic execution. When they fire, fall down. Then the soldiers will retire... We shall be safe then J Once in Civitavecchia aboard of a lugger, and off to sea J Cavaradossi We are free 1 Tosca Free are we I Cavaradossi (colla piil tenera commozione) Amaro sol per te m'era il morire Da te prende la vita ogni splendore, all'esser mio la gioia ed il desire nascon di te, come di fiamma ardore. to folgorare i cieli e scolorire vedro nell'occhio tuo rivelatore, e la belta delle cose piti mire avra solo da te voce e colore. Tosca Amor che seppe a te vita serbare ci sari guida in terra, in mar nocchiere e vago fara il mondo a riguardare. Finch e congiunti alle celesti sfere dileguerem, siccome alte sul mare a sol cadente, nuvole leggere! isnangono cornmogsi, eilenziosi- poi Tosca, chiamata dalla realta delle cose, sJ gnardc tuornoinquieta) E non giungono... (si volge a Cavaradossi con premurosa tenerezza) Bada!... al colpo egli e mestiere che tu subito cada per morto. Cavaradossi (la raseicura) Non temere che cadro sul momento e al naturale. Tosca (insistendo) Ma stammi attento - di non farti male! Con scenica sc'ienza io saprei la movenza... Cavaradossi (la interrompr, atlirandola a so) Parlami ancor come dianzi parlavi, & cosl dolce il suon della tua voce! ACT III. Cavaradossi Free are we 1 Tosca Free and happy we shall be !... Dost thou smell the scent of roses ? Nature silently reposes While dawn the secrets of night discloses. Cavaradossi The sting of death I only felt for thee, love ; From thee my life took all its pride and pleasure The world without thee had been nought to me, love, Thou wert my joy, my glory, and my treasure. The brightening of the skies, and eke their darkening, In thy refulgent eyes will be reflected, Sweet sounds will reach mine ears when thou art hearkening, Just as thou art, so shall 1 be, joyous or dejected Tosca And Love, to whom is due thy life's redemption, Will be our guide on land, out pilot on the ocean Peace shall be ours, from worldly cares exemption, Until, united in some sphere celestial, Fluttering like fleecy clouds ever in motion (she gazes fixedly, as though seeing a vision) We shall soar high above the globe terrestrial (recalled to the realities of the situation, she looks around uneasily) And they come not ! (to Cavaradossi with anxious tenderness) Remember that you must fall on the instant at which the soldiers fire !... Cavaradossi (sadly) Do not fear, love. I shall fall at the rJjcrht moment, and q.uHe correctly. ATTO TERZO Tosca (si abbandona quasi estasiata, quindi a poco a poco accalorandosl) Uniti ed esulanti diffonderan pel mondo i nostri amori annonie di colori... Cavaradossi (esaltandosi) ed armonie di canti ! Tosca - Cavaradossi (con grande entusiasmo) Sparve il duol la sitibonda anima inonda celestiale crescente ardor. In armonico vol 1'anima sale ail'estasi d'amor. Tosca La patria e la dove amor ci conduce. Cavaradossi Per tutto troverem 1'orme latine e il fantasma di Roma. Tosca E s'io ti veda memorando guardar lungi ne' cieli, gli occhi ti clriudero con mille baci e mille ti dird nomi d'amore. (Frattanto dallo scaletta e salito un drappcllo di soldati : lo comanda un Ufficiale, J quale schiera i eoldati nel fondo: seguono Spoletta, il Sergente, il Carceriere. - Spo- letta da le neceesari istruzioni. II cielo si fa piu luminoBO ; d 1'alba: suonano le 4. II Carcoriere si avvicina a Cavaradoasi e togliendosi il berretto gli indica 1'Ufficiale). Carceriere L'ora! Cavaradossi Son pronto. (II Carceriere prende II regietro del condannati e parte dalla scaletta) ACT IIL Tosca (insisting) But pay attention ; take care not to hurt yourself ! Tis only a stage-trick ; I should know how to do it... Cavaradossi (interrupting, draws her towards him) Speak once again of thyself, of thy lover, who listens to thy dulcet accents with rapture 1 Tosca (estatically) When once we shall be free, how joyously we will wander through a world radiant, harmonious, sublime the planet of love !... Together (in unison) Farewell, pain ! Kvcry feeling Now is revealing Heavenly bliss and perfect joy... Our cares were idle and vaic Now gladness is ours Gladness without alloy ! (Enter, through the trap-door, a firing party of soldiers, commanded by an officer, whc parades it at the back of the stage, Spoletta, the sergeant, and the jailer follow hiia Spoletta imparts the necessary instructions. The sky brightens ; day is dawning.) Tosca 'iliine eyes I'll fondly close with countless kisses, and loving words I'll whisper in thine ears... Jailer Tour time is come 1 (approaches Cavaradossi and points to the officer, taking off his cap ; then picks up the register of condemned prisoners, and exit t hrough trap-door. The church clocks strike 4 a.m.) Cavaradossi I'm ready .' Tosca (a Cavaradossi, con voce bassissima e ridendo di eoppiatto) (Tieni a mente: al primo colpo, giii...) Cavaradossi (sottovoce, ridendo esso pure) (Giu). Tosca (N6 rialzarti innanzi ch'io ti chiami). Cavaradossi (No, am ore I) Tosca (E cadi bene). Cavaradossi (Come la Tosca in teatro). Tosca (Non ridere...) Cavaradossi (facendosi capo) (Cosi?) Tosca (Cosi). .Cavaradossi segue V Ufflciale dopo aver salutato Tosca, la qnale si colloca a sinistra nelia casamatta, in modo perd di poter spiare qnanto succede sulla piattaforma. Esea vede 1'Officiale ed il Sergente che conducono Cavarados-si presso al muro di faccia a lei: il Sergente vuol porre la benda agli occhi di Cavaradoesi: questi, sorridendo, rifluta. - Tali lugubri preparativi stancano la pazienza di Tosca). Tosca Com'e lunga 1'attesa! Perche indugiano ancor?... Gia sorge il sole... Perche indugiano ancora ?... e una commedia, 10 so... ma questa angoscia eterna pare!... jTTJfflciale e il Sergente dispongono il pelottone dei soldati, impartendo gli ordini relatil*' Ecco!... apprestano 1'armi... com'e bello 11 mio Mario!... ACT ra. ' Tosca (in a low voice, suppressing her laughter) Now remember... as soon as they fire... down J Cavaradossi (speaking under his breath, and laughing) Down ! Tosca On no account must you rise until 1 call you. Cavaradossi No, beloved. Tosca And fall down lightly. Cavaradossi Just lik> La Tosca on the stage. Tosca (seeing him smile) Tou must not laugh... Like this ? Cavaradossi (gravely) Tosca Like that. (Ctvaradossi follows the officer after having taken leave of Tosca, who remains la tht casemate, taking up a position //., from which she can see what takes place OB. the platform) Tosca (watching the officer and sergeant, who leads Cavaradossi up to the wall facing SMT) This delay is vexatious ! What are they waiting for now ?... The sun is now rising... *JThe sergeant offers to bandage Cavaradossi's eyes ; smiling, Cavaradoesl These lugubrious preliminaries weary Tosca's patience) 'Tis but a farce I know... Yet this anxiety is dreadful I... ATTO TERZO vedendo 1'Ufficiale clie eta per abbassare la sciabola, si porta le mani agli orecchi per non ndire la detonazione ; poi fa cenno colla testa a Cavaradossi di cadere, dicendo.> L& ! muori! (vedendolo a terra gli invla colle mani un bacio) Ecco un artista!... (B Sergente si avvicina al cadnto e lo osserva attentamente : Spoletta pure si e" awicL nato; allontana il Sergente impedendogli di dare il colpo di grazia, quindi copre Ca- varadossi con un mantello. L'Ufficiale allinea i soldati- il Sergente ritira la senti nella che sta in fondo, poi tntti, predecnti da Spoletta, scendono la scala. Tosca d agitatissima: essa sorveglia questi movimenti temendo che Cavaradossi, per impa- zienza, si muova o parli priiua del momento opportano). (a voce repressa verso Cavaradosei) O Mario, non ti muovere... Ma gia s'avviano... taci! vanno... scendono. (vista deneri a la piattaforma, va ad ascoltare presso 1'imbocco della scaletta: vi si ar resta trepidante, aflannosa parendole ad un tratto che i soldati, anziche allontanant, ritornino sulla piattaforma - di nuovo sivolge a Cavaradossi, con voce baesa) Aneora non ti muovere... ascolta - si sono tutti allontanati, va al parapetto e cantamente sporgendosi, osservo di eotto) Or varcano il cortile... (corre verso Cavaradossi) Mario, su, presto ! Andiamo!... andiamo!... Su! {i china per alutare Cavaradossi a rialzarsi: a un tratto da un grido suffocate di ter rore, di sorpresa e si guarda le mani colle quali ha sollevato il mantello) Del eangue ?! (si inginocchia, toglie rapidamente il mantello e balza in piedi livida, atterlta) Morto!... mortol... (con imposte parole, con sospiri, singhiozzi si butta sul corpo di Cavaradossi, quasi non credendo aH'orribll destino) O Mario... raorto ? tu ? cosi ? Finire cosl ?... cosl ?... povera Floria tua! ! Mtanto dal cortile al disotto del parapetto e su dalla piccola scala arrivano prima con- fuse, poi sempre piu vicine le voci di Sclarrone, di Spoletta e di alcnni soldati) La voce di Sciarrone Vi dico, pugnalato! ^Tbe officer and sergeant draw ap the firing-party in readiness for the word of command) At last ! they are priming their muskets. (seeing that the officer is about to lower his sword, she stops her ears with her hands in order not to hear the explosion, and nods to Cavaradossi as a signal that he is to fall) How handsome is my Mario !