Tosca

Tosca is an opera in three acts by Giacomo Puccini to an Italian libretto by Luigi Illica and Giuseppe Giacosa, based on Victorien Sardou's drama, La Tosca. First performance: Rome, 1900.

Analysis

Tosca is generally considered of capital importance in the history of opera because of its many highpoints.

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It begins with a tragic atmosphere much darker than those that Puccini had got his public used to, but the composer is able to insert a basso buffo (the sacristan - Puccini was always very careful with minor characters) who gradually leads to the sweet Recondita armonia (which requires vocal intensity and extension, together with a deep interpretation), which is enriched by a famous paradigmatic controcanto.

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Angelotti is again on the scene and the music is hollow again. But Tosca is quite soon introduced by the lighter duet that begins with the sensual Non la sospiri la nostra casetta, while the orchestra turns to a timbre very near to elements of so-called French impressionist music.

Related Topics:
Timbre - Impressionist music

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Once again Angelotti is back, once again Puccini brings back a tragic atmosphere, of similar depth as in the first scenes; Angelotti is clearly the musical key of the tragedy, much more than Scarpia.

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A nearly comic intermezzo regards the sacristan, with choir, before Scarpia arrives. The orchestra is now deep and obscure again, but with energy and power this time, personifying the character of Scarpia the tyrant, the investigator, the judge. Every accent and word of Scarpia is underscored by Puccini to depict a character with a depth of evil that finds comparison perhaps only in Verdi's Otello and Falstaff.

Related Topics:
Intermezzo - Verdi - Otello - Falstaff

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Cavaradossi's questioning is in the style of "conversable", and ends with a notable external voice of Tosca singing a Paisiello cantata, a recalling of baroque as well as a realistic addition, as the story is set in June 1800.

Related Topics:
Conversable - Voice - Cantata - Baroque

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Another period of stile di conversazione is suddenly broken with the Cavaradossi's intermezzo (Vittoria, vittoria), which was attentively awaited by loggionisti (spectators of the higher seat in the theatre, "loggione", the most technical ones) in order to test tenor's high notes.

Related Topics:
Loggionisti - Spectator - Loggione

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The following episode is violently and nervously rendered by orchestra, and will end in the most famous melody Vissi d'arte, which requires the singer to show most of her capabilities: here loggionisti will test soprano's legato, high notes, consistency of central region, energy and fraseggio.

Related Topics:
Legato - Fraseggio

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Act III begins with a memorable Roman symphonic harmony and ends in clamours, having passed through the outstanding E lucevan le stelle.

Related Topics:
Symphonic - Harmony

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