Music Tosca

1 music

1.1 general style
1.2 act 1
1.3 act 2
1.4 act 3

music

the setting robert dornhelm s production of tosca @ opera festival of st. margarethen, 2015


general style

by end of 19th century classic form of opera structure, in arias, duets , other set-piece vocal numbers interspersed passages of recitative or dialogue, had been largely abandoned, in italy. operas through-composed , continuous stream of music in cases eliminated identifiable set-pieces. in critic edward greenfield calls grand tune concept, puccini retains limited number of set-pieces, distinguished musical surroundings memorable melodies. in passages linking these grand tunes , puccini maintains strong degree of lyricism , resorts recitative.

budden describes tosca wagnerian of puccini s scores, in use of musical leitmotifs. unlike wagner, puccini not develop or modify motifs, nor weave them music symphonically, uses them refer characters, objects , ideas, , reminders within narrative. potent of these motifs sequence of 3 loud , strident chords open opera , represent evil character of scarpia—or perhaps, charles osborne proposes, violent atmosphere pervades entire opera. budden has suggested scarpia s tyranny, lechery , lust form dynamic engine ignites drama . other motifs identify tosca herself, love of tosca , cavaradossi, fugitive angelotti, semi-comical character of sacristan in act 1 , theme of torture in act 2.

act 1

the opera begins without prelude; opening chords of scarpia motif lead agitated appearance of angelotti , enunciation of fugitive motif. sacristan s entry, accompanied sprightly buffo theme, lifts mood, light-hearted colloquy cavaradossi follows after latter s entrance. leads first of grand tunes , cavaradossi s recondita armonia sustained high b flat, accompanied sacristan s grumbling counter-melody. domination, in aria, of themes repeated in love duet make clear though painting may incorporate marchesa s features, tosca ultimate inspiration of work. cavaradossi s dialogue angelotti interrupted tosca s arrival, signalled motif incorporates, in newman s words, feline, caressing cadence characteristic of her. though tosca enters violently , suspiciously, music paints devotion , serenity. according budden, there no contradiction: tosca s jealousy largely matter of habit, lover not take seriously.

after tosca s non la sospiri , subsequent argument inspired jealousy, sensuous character of love duet qual occhio provides opera writer burton fisher describes erotic lyricism has been called pornophony . brief scene in sacristan returns choristers celebrate napoleon s supposed defeat provides last carefree moments in opera; after entrance of scarpia menacing theme, mood becomes sombre, steadily darker. police chief interrogates sacristan, fugitive motif recurs 3 more times, each time more emphatically, signalling scarpia s success in investigation. in scarpia s exchanges tosca sound of tolling bells, interwoven orchestra, creates religious atmosphere, puccini draws on music unpublished mass of 1880. final scene in act juxtaposition of sacred , profane, scarpia s lustful reverie sung alongside swelling te deum chorus. joins chorus in final statement te aeternum patrem omnis terra veneratur ( everlasting father, earth worships thee ), before act ends thunderous restatement of scarpia motif.

act 2

emmy destinn in role of tosca, c. 1910

fisher has observed puccini s tragic muse; in second act of tosca, according newman, rises greatest height master of musical macabre. act begins quietly, scarpia musing on forthcoming downfall of angelotti , cavaradossi, while in background gavotte played in distant quarter of farnese palace. music puccini adapted fifteen-year-old student exercise late brother, michele, stating in way brother live again through him. in dialogue spoletta, torture motif—an ideogram of suffering , according budden—is heard first time foretaste of come. cavaradossi brought in interrogation, tosca s voice heard offstage chorus singing cantata, [its] suave strains contrast[ing] dramatically increasing tension , ever-darkening colour of stage action . cantata cantata giove, in literature referred lost work of puccini s 1897.

osborne describes scenes follow—cavaradossi s interrogation, torture, scarpia s sadistic tormenting of tosca—as puccini s musical equivalent of grand guignol cavaradossi s brief vittoria! vittoria! on news of napoleon s victory gives partial relief. scarpia s aria già, mi dicon venal ( yes, venal ) closely followed tosca s vissi d arte . lyrical andante based on tosca s act 1 motif, perhaps opera s best-known aria, yet regarded puccini mistake; considered eliminating since held action. fisher calls job-like prayer questioning god punishing woman has lived unselfishly , righteously . in act s finale, newman likens orchestral turmoil follows tosca s stabbing of scarpia sudden outburst after slow movement of beethoven s ninth symphony. after tosca s contemptuous e avanti lui tremava tutta roma! ( rome trembled before him ), sung on middle c♯ monotone (sometimes spoken), music gradually fades, ending newman calls impressively macabre scene in opera. final notes in act of scarpia motif, softly, in minor key.

act 3

the execution of cavaradossi @ end of act 3. soldiers fire, tosca looks away. photograph of pre-1914 production metropolitan opera

the third act s tranquil beginning provides brief respite drama. introductory 16-bar theme horns later sung cavaradossi , tosca in final duet. orchestral prelude follows portrays roman dawn; pastoral aura accentuated shepherd boy s song, , sounds of sheep bells , church bells, authenticity of latter validated puccini s morning visits rome. themes reminiscent of scarpia, tosca , cavaradossi emerge in music, changes tone drama resumes cavaradossi s entrance, orchestral statement of becomes melody of aria e lucevan le stelle .

mario cavaradossi (modelled on tenor giancarlo monsalve) singing e lucevan le stelle in painting riccardo manci

this farewell love , life, anguished lament , grief built around words muoio disperato (i die in despair) . puccini insisted on inclusion of these words, , later stated admirers of aria had treble cause grateful him: composing music, having lyrics written, , declining expert advice throw result in waste-paper basket . lovers final duet amaro sol per te , concludes act s opening horn music, did not equate ricordi s idea of transcendental love duet fitting climax opera. puccini justified musical treatment citing tosca s preoccupation teaching cavaradossi feign death.

in execution scene follows, theme emerges, incessant repetition of reminded newman of transformation music separates 2 parts of act 1 in wagner s parsifal. in final bars, tosca evades spoletta , leaps death, theme of e lucevan le stelle played tutta forze (as loudly possible). choice of ending has been criticised analysts, because of specific association cavaradossi rather tosca. joseph kerman mocked final music, tosca leaps, , orchestra screams first thing comes head. budden, however, argues entirely logical end dark opera on blackest theme. according historian , former opera singer susan vandiver nicassio: conflict between verbal , musical clues gives end of opera twist of controversy that, barring unexpected discovery among puccini s papers, can never resolved.