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Full text of "Tosca: An Opera in Three Acts"

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PRICE 50 CENTS 



[jL-vLna 




17 EAST 42nd STREET. NEW YORK CITY 

THE ONLY CORRECT AND AUTHORIZED EDITION 



/ 



 

I 



TOSC A 

AN OPERA IN THREE ACTS 

BY 

V. SARDOU - L. ILLICA - O. OIACOSA 

(English version by W. Beatty-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. Rtcordi & Co. 
{English Version) Copyright 1900. by G. Ricordi & Co, 



\ r 



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 Cburch 
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 kneh 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 
Angelottii 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 Angelotti 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 ^nd 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 



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 p-redicts 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 MaTio has only one hour more to live, and 
informs her tha^ 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 ia 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. 



OHARACTIiRH 



FLORIA TOSCA, a celebrated songstrens • . • Soprano 

MARIO CAVARADOSSI, painter Tenor 

BARON SCARPIA, Chief of the Police . . . ^Baritone 

CESARE ANGELOTTI Bass 

A SACRISTAN Baritone 

SPOLETTA, Police Agent 7'enor 

SCIARRONE, Gendarme Bass 

A GAOLER Bass 

A SHEPHERDBOY ContraUo 



Robert!, Executioner. 

A Cardinal. A Judge. 

A Scribe. An Officer. A Sergeant 



Soldiers, Pol ice- 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 : 8u 
di esso un gran quadro coperto da tela. Attrezzi vail da 
pittore. Un paniere. 



Angelotti 

(TMtito da prij^onlero, Ucero, ifatto, tremante dalla paora, entra aasaBte, qoasi cor- 
rendo, dalla porta latonle. "Dk una rapida occbiata intorno) 

Ah !... Finalmente !... Nel terror mio stolto 
vedea ceffi di birro in ogni volto. 

(ttrna agaardart attentamante Intorno a sd con pi& calma a riconoacere il luogo.— Di 
nn aospiro di BoUieyo vedendo la colonna col la pila delPacqaa aanta e la Madonna) 

La pila... la colonna... 
^^ A pid della Madonna " 
mi scrisse mia sorella... 

(▼1 at av^eina, cerca ai pledi della Madonna e ne ritira, con nn aoflocato grido di gio'a, 
an* cUave) 

Ecco la chiaye... ed ecco la oappclla I... 

(addlta la Capp«lla Attavanti ; con gran precaaziona introdaoe la chiave nelU serratura, 
i^ra la eaaoellata, pi»netra nella Cappella, rinchinde... e scompare). 



II Sagrestano 

(entra dal fondo tenendo fra le mani an mazzo di penndli e parlando ad alta voce come 
le liTolgeeae la parola a qaalcano) 

E frega e lava I... Ogni pennello S soaeo 
peggio cbe il collarin d'ano scagnozzo. 
Signor pittore... T6 !... 

ignarda Terao Timpalcato dove sta 11 qoadro, e vodendolo deeerto, eaclama sorpreso) 

Nesfluno. - Avrei giurato 
ohe fosse ritornato 
il cayalier Cavaradossl 



< <>x^tx^xvX's:» x <»s««ft<:» x^ vvyxo:o^^^^^^^^^^ 



ACT I. 



Scene : The Church of Sant' Andrea alia Valle. 

/2. — The Attavanti CliapeL X. — Scaffolding, date, easel sup- 
porting a large picture covered hj a cloth. Accessories 
of the painting craft. A basket. 

(Inter Angelotd L,, in prison garb, harassed, dishevelled, panic-stricken, well-nlgb 
breathless with rear and hurry, ue casts a hasty glance aroand him) 

Angelotti 
Ah ! I have baulked them ... dread imagination 
Made me quake with uncalled-for perturbation. 

(laddering, he again I oks round him, carioosly and somewhat more calmly, heaving 
a sigh of reli^ as he recogniaes a pillar-shrine containing an Image of the Virgin 
and snrmoonting a receptacle for Holy Water) 

The pila ... and the column. 

My sister wrote to tell me 

^^At the foot of the Madonna" ... 

(Ud approaches the column and searches for the key beneath the feet of the Holy 
Virgin's Image. Not finding it immediately, he appears dlsconraged, and renews 
his quest In a state of manifest agitation. Presently, stifling an exclamation of 
Jey, ne discovers the key) 

This is the key, 

(quickly psssing 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, cre^M up to the chapel-gates, carefully inserts the key in the keyhole, 
opens the folding-doors and passes through them, cioeing them behind him) 



^Qt«r the Sacristan C, grasping in one hand a bundle of paint-brashes ; he crosses 
from L. to J?., and takes up his stand in the nave of the cnnrch, for a time, eventu- 
ally moving towards the scaffolding while talking loudly, as though he were address- 
ing some unseen person) 

The Sacristan 

(who has a nervous trick of twitehing his neck and shoulders) 

Vainly I soak them I Dirty they are and sticky. 
Fouler than any frowsy ehoir-boy's dicky... 
Oood sir, I pray you... 

(staring at the dais, and amaaed t« see it vacant) 

What I Nobody ! I eould have sworn 
I should have found Cavaradossi 
busily Working at his easeL 



TOBCA 

(depoue i p4>nnelli, sale BollMmpalcato, gnarda dentro 11 paniere e dice) 

No, 
sbaglio. ~ n paniere ^ intatto. 

(aaona VAnffelut. II SagrMtaao si inginocchia e prega sommeaao). 



S 



Cayababossi - Sagrbstano. 
Cavaradossi 

(dalla porta lateraJe, vedendo il Bagreatano in ginocchio) 

Che f ai ? 

Sagrestano 

(alzandoM) 

Recito VAngelfis. 

(Cavaradoati f«le sairimpalcato e scopre II qaadro. fi una Maria Maddalena a grand) 
occhi azzurri con ana gran pioggla di capelll dorati. II piitttre vi 91 a dinansi ato 
attentamente osaerraiido). 

(II ^agrvetan \ volgendoai Terao CavaradoBsi per dirigergro la parola, vede il qnadro 
bcoperto o d& in nagildo dl meraviglla) 

O sante 
ampoUe I II suo ritratto I... 

Cavaradossi 
Dichi? 

Sagrestano 
Di quell^ignota 
cbe i di passati a pregar qui venla 
tutta devota - e pia. 

.eacoenna verao la Madonna dalla qaale AngelotU traeee la chiave) 

Cavaradossi 

(Borridendo) 

E vero. E tanto ell'era 

infervorata nella sua preghiera 

ch'io ne pinai, non visto, il bel sembiante. 

Sagrestano 

(Fuori, Satana, f uori !) 

Cavaradossi 
Dammi i colori I 

(P Sagresuno eiiegalfloe. Cavaradossi dipinge con rapiditik e ai sofferma spesso a r'goar 
dare : 11 Sagrestano va e viene, portando una catinella entro la quale continoa a la 
vare 1 {wnni Hi). 

(A un tralto < araradoesi si ristA di dipingere; leva dl tasca on medaglione contenrnt* 
ana minitininip ifli occhi suoi Tsnnodal inedagllone al quudru) 



Affr •• 

^___ . — — ^^— — — ^■— — — ^ ^ 

(He looks into the l>asket) 

Noy wrong again. 

Nothing has been touched here. 

lieetepe down from the dais. The Angelas is rung. He kneels, and intones the 
prayer. Bell. Enter CaTaradonei L. He sees the Sacristan kneeling) 

Cavaradossi 
What now ? 

Sacristan 

(rising) 

Only the Angelus. 

COayaradoasi ascends the dais and uncovers the picture, which represents a Mary 
Magdalen with large bine eyes and matises of golden hair. The painter stands 
facing it, casing upon it in silent and Intent contemplation. Taming towards 
Cavaradossi to speak to him, the 8acti«tan catches sight of the uncovered picture 
%nd ezclAims in great amazement :) 

Saints and Martyrs I It is the portrait... 

Cavarados i 

(tnmlng towards the Sacristan) 

Of whom ? 

Sacristan 
Of that fair lady who, day by day, 
lately, to pray came hither. 

traverently bowing before the Virginia imaii^e beneath which Angelotti had foond tHa 
k«y) 

Deeply devout was her worship... 

Cavaradossi 

(smiling) 

Ay, truly I Wliile thus absorbed in her 

devotions, plunged in dreamy rapture 

then anseen, I depicted her lovely semblance. 

bacristan 

(scandalized) 

Gtet thee, Satan, behind me ! 

Cavaradosri 

(to the Sacrisian, who obe>s him) 

Give me the colours ! 

Sm begins to paint rapidly, often pausing to look at hie own worlc, while the SacrlxtaBi 
fidgets backwards and forwards, eventually picking np the brashes and dabbUnn 
them in a bucket at ihe fout of the scaffolding. Cavaradossi suddenly si ops paint 
lag, takes out of his breast-pocket a medallion containing a miniature, and comparaa 
the Utter with the picture on the easel) 



ATTO PRIMO 



RecoDdita armonia 
di bellezze diverse 1... i] bruna Fiona, 
Pardeiite amante mia, 
e te, nobile fior, cinge la gloria 
delPampie chiome bionde I 

Tu azzurro hai I'occhio e Tosca ja I'oochio nero! 
L'arte nel suo mistero 
le diverse bellezze insiera confonde: 
ma nel ritrar costei 
il mio solo pensier, Tosca tu sei ! 

Sagrestano 

(fra Bd, brontolando) 

(Soberza coi fanti e lascia stare i santL 

Queste diverse gonne 

cbe fanno concorrenza alle Madonne 

mandan tanfo d'infemo. 

Ma con quel caui - di volte rriani 

uemici del santissinio govern o 

non c'6 da metter voce !... 

Facciam piuttosto il segno della croce). 

(a CavaradoBsl) 

Vado, Eccellenza ? 

Cavaradossi 

Fa il tUO piacere ! (ritorna a dlplngere). 

Sagrestano 

(indicando II <%8to) 

Pieno 6 il paniere... 
Fa penitenza? 

Cavaradossi 

Fame non bo. 

Sagrestano 

(coo ironia Btropicciandoei le mani) 

Oh !... mi rincresce I 

(Qon pad trattenere an Keeto di gloia e ano agfjado di aviditA verao il cesto cbe pn-Dde 
ponendolo un i>oMn dieparte) 

Badi, quand'esee 
cbiuda. 



ACT I. y 

Strange harmony of contrasts, 

thus delii'ioiisly blending, 
My Floria's dusky ghiw with 

peach-like bloom contending 

Sacristan 

(grambilng under his bronih) 

He scorns the saints and jests with tlie ung*Kliy 

(fetches water wherewith to cleAnse the bnishee) 

Cavaradossi 

Thou fairest Queen of Heaven, 

Gk>ld are thy tresses and radiantly bright! 

Thine eyes are blue — and Tosca's 
Dark as a moonless night. 

Sacristan 

(retams np the »tage, mnrmarlng) 

He scorns the saints and jests with the ungodly I 

(The SacrlBtui recommenoet washing the broshea) 

Cavaradossi 
Art, that potent magician, many beauties 

combines in one ideal; 
To me, beloved Tosca, when I limn thy bright visagei, 

thou alone art real ! (he contlnaea to paint) 

Sacristan 

(having dried the cleaned broahee, he goea on mnttering) 

These light o' loves pernicious, 
So frivolously vicious. 

Delight in wiling human souls to perdition ; 
And they, like heathenish unbelievers. 
Should ail be hanged or burned as vile deceivers, 

By the Holy Inquisition, (grnmbiee) 
He scoffs at saints, and jests with the ungodly I 

(He tbmata the baalict ander the scaffoiding, and places the clean hroahes iu a jtig utm 
the painter) 

(aside) (I mav as well be off, with his permission.) 
(aloud) Excellency, Fm going. 

Cavaradossi 
Do as you please, man. (f^oea on paind^ 

Sacristan 

(pointing to the basket) 

Full is the pannier... Pray, are yoa fasting? 

Cavaradossi 

Nothing for me ! 

Sacristan 
Oh ! I am sorry !... 

^■Im tala ha&ida ironically, bat cannot reprecl a Joyopa sestare and a greedy gunee at 
ikm hMkeu which he picks np and aeta aaide. He then talcee two ^chea of amifl) 

Please to lock up, when leaving? 



T08CA . 

Cavaradossi 
Va! 

Sagrestano 

Vo, 

(B*al Ion tans per 11 fondo) 

CtviiniuoMl voli|;e[ido le Bpalle alls Cappella lavora. Angelottl, eredendo iteserts » 
cbUwa, apiiare dietro la caaoellata e Introdaca la chiave per aprtre). 



CAyABAI>088I - AnOBLOTTU 

Cavaradossi 

(al dgoUo della eerratara si tcIu) 

G^nte Ik dentro I 

(al mcylmeDto fatto da v'avaradoflal, Angelottl« atterrito oi aireata come per rifogian 
antora iiiba Cappella — Dia — alzatf gll oc^hl, un gr>do di gioia, cbe egll iM>tIoca 
to«ro limtiroeo, erompedal sno petto. BgU ba ricoiiOBcliito fl pittora e gli ateode U 
braccia come ad un alato insperato) 

Angelotti 

7oi I Cavaradossi < 
Vi manda Iddio I 

Cavaradossi 
Ma... 

Angelotti 

(▼a fin flotto Ptmpalcato) 

Nod mi ravvisate? 
D oarcere mi ha dunque assai inutato 

Cavaradossi 
n caroere ?... 

eCavaradnml gnarda (U>o 1) volto di AngelotU, e flnatmente lo ruvflsa Depone rapldo 
tavoioaza e penuelli, aoende daliUiiipalcato verso Angelotti, goardandimi eaau 
imomo) 

Angelotti I 

Angelotti 

Appunto. 

Cavaradossi 

D Console 
aella Apenta repubblica romana. 

iiinrre • r.tiiodftr» la porta a deatra) 



ACT I. 

Cavaradossi 

Gol 

Sacristan 



I go. ( ***' ^O 



(CaTartdoBBi coDtinaes to work, tnrnlng his back to the Chapel Angelottl, beHeving 
the Church to be empty, appean behind the railing, and uiei uhe key to open it) 



Cavaradossi 

(hears the lock creak, and tnms round) 

Someone is in there I 

(Angelotti, alarmed by Cavaradoesl*s movement, is aboat to take refoge anew in the 
Chapel, bat otters a half -stifled cry of gladness on recognising the painter, toward* 
whom he advances open-armed, as to an nnhoped-for rescner) 



Angelotti 

Ton ! Cavaradossi i 
God sends you to me I 

(Cavaradossi does not recognise Angelottl, and vei^ains on the dsls, petrlfled by amaL<»> 
ment. Angelottl, craving recognition, approaches him) 

Have you quite forgotten ? 

Has prison-life transformed me out of knowledge ? 



Cavaradossi 

(lecognldng Angelottl, hsstlly sets down his palette and bmshes, and descends from 
the dais looking cantlonsly around him) 

Angelottl 1 
The Consul of the moribund Roman Republic I 

(hastens to close the church-door L\ 



▲TTOPKMO 



Angelotti 

Faggii pur ora da Castel Sant'Angela.* 

Cavaradossi 

Disponete di me. 

Voce di Tosca 
Mario ! 

(fXhk yooe dl Toaca, Csyaradossi fa an rapido cenno ad Angelotti dl tarere) 

Cavaradossi 

» 

Celatevi I 

E nna donna... gelosa. Un breve istante 
e la rimando. 

Voce di Tosca 

Mario ! 

Cavaradossi 

^vsrao )a porta dl dove viene la Tooe di Toaca) 

Eccomi ! 
Angelotti 

colto do nn acccfwo dl debolezza b1 appof^iria air imiwlcato) 

Sono 
Mtromo di forze - non mi reggo. 

Cavaradossi 

tap dt»Himn. MM't> vQir impalciitn, tie diHcende col pant'-r« e incoraggiaudo An^l'Utl :r 
•{iiiit!«* \e »•• la (.'upp- lla> 

In quest o 
panier vi ^ riho e vino. 

Angelotti 

Orazie I 

Cavaradossi 

Presto! 

(Angelntt! entra oella Cappella). 



Cavaradossi - Tosca. 

Voce di Tosca 

(cbiamando lipetotamente stizzita/ 

Mario ' 



ACT 1. 

Angelotti 

(AdYftncing towards CavartdoMl) 

1 have escaped but now from Fort San Angelo... 

Cavaradossi 

Oii^eneronsly) 

Can I do aught to help you ? 

To sea 

(from without) 

Mario 1 
Cavaradossi 

fhearing Toncft^s voice, makes a sign to Angt lotti enjoining him to keeip aUenoa) 

Conceal yourself I 
• The most jealous of women... 
Within a minute I'll dismiss her. 

Tosca 

Mario 1 (M befoie) 

Cavaradossi 

(In reply) 

Here I am ! 

Angelotti 

(overcome by weakness, loans against the scaffolding) 

I am hungry and weary and exhausted... 

Cavaradossi 

DToductA the basket from beneath the scaffolding, and gives it to AngeiottI; 

See, here is good store of food and liquor. 

Angelotti 
Thank you ! 

Cavaradossi 

viVng Auirelotii forward towards the Chapel) 

Hasten ! 

'Angelotii enier4 the Chapel) 

Tosca 

(trriUted) 

lAario t Mario ! Mario 1 



iO T08CA 

Cavaradossi 

(apre) 

Son qui I 

Tosca 

(entrs con an., c^de di vlolenza, allontaxiA bruacamente Mario che vnole abbracclarlL e 
gaarda soBpeUoaa intorno a ed) 

Perchd chiuso ? 

Cavaradossi 

Lo vuole 

il Sagrestano. 

Tosca 
A chi parlavi ? 

Cavaradossi 

Atel 

Tosca 

Altre parole bisbigliavi. Ov'A?.,. 

Cavaradossi 

Chi? 

Tosca 

Coleil... Quella donna L. 
Ho udito i lesti 
passi e un fniscio di vestL.. 

Cavaradossi 

Sognil 

Tosca 
Lo neghi ? 

Cavaradossi 

Lo negO e t'amo 1 (per badarla) 

Tosca 

(con dolce rimproTero) 

Oh ! innanzi la madonna. 
Lascia pria ch'io I'lnfiori e che la pregfai. 

(jgf aTvicina alia Madonna, dispone con arte, intoroo ad e^Ba, i fieri che ha poriatooot 
sd, ai inginocchia e prega con molta deToalone, pot e^alaa) 



le ACT I. 

Cavaradossi 

(feigning? calm, opens the door to Tosca) 

I am here ! 

Tosca 

(entem tmpetiiiHisiT, lookinff nUBpiclontW aboat hvr. CaTandoesI approacbea ber II 
embrace h« r; mm repel« Dim bnutqaely) 

Why lock the door ? 

Cavaradossi 

(felsrnlnf; indiffereooe) 

By the Sacristan's order. 

Tosca 

To whom wert speakmg^ 

Cavaradossi 
To thee ! 

Tosca 
To someone else I heard thee whispering. 

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 

fpaesloDately) 

'Twas not, beloved ! 

(tries to embrace her) 

Tosca 

(gently reproving him) 

Ob I before the good Madonna ! No, 
Mario mine; let me pray to h-r first, 
and make my ofTring ! 

(ihe reverently adorns the Virgin's Imai^ with the flowern which she bad hrniiehr wttn 
her for that porpose; then kueels down, pra.vi« devoutly, croesee heTM*ir, and ani*eii 
To Cavaradossi, who, meanwhile, lias made preparations to resume workt 



ATTO PRIMO n 



(a Cavarado^di, che pi i avviato per riprendcre i1 Uvoro) 

Ora stammi a sintir — stassera canto, 
ma ^ spetiacolo breve. - Tu mi aspetti 
sniruscio della scena 
e alia villa ne andiam soli e solettL 

Cavaradossi 

(che f u ftempre soprapeiuieri) 

Stassera? I 

Tosca 

K luna plena 
ed 11 nottumo effluvio floreale 
nebiia il cor. - Non sei contento ? 

Cavaradossi 

(anooim on po* difitratto e perltoeo) 

Tanto I 
Tosca 

(colpita da qaell*aecento> 

Tornalo a dir ! 

Cavaradossi 

Tanto! 

Tosca 

Lo dici male: 

(ys a aedere snlla gradiData presio a Ca%'aradofl8i) 

non la sospiri la nostra casetta 
che tutta ascosa nel verde ci aspetta? 
nido a noi saero, ignoto al mondo inter, 
pien d'amore e di mister? 

Oh al tuo fianco sentire 

per le silenzlose 

stellate ombre, salire 

le Yoci delle cose I 
Pai boschi, dai roveti, 

dalParse erbe, dalPimo 

dei franti sepolcreti 

odorosi di timo, 
la notte escon bisbigli 

di minuscoli amori 

e perfidi consigli 

che ammolliscono i cuorL 



ACT I. n 

And now listen to me. 

To-night Tin 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 

ft 

Cavaradossi 

(AbBently) 

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 silt down on the d«lB-stei>, close to CsTWsdoiii) 

Cavaradossi 

Surely I (absently) 

Tosca 

(Strnck with his indifferenoe) 

Say it again ! 

Cavaradossi 

(as before) 

Surely. 
Tosca 

(vexed) 

Thou say'st it badly. 
Dost thou not long for our cottagb 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 



n TosrA 

Florite, o campi iramenKi, palpitate 
aure manne ncl lunare albor, 
piovete volutta, volte stellate I 
Arde a Tosca nel sangue il f oUe amor I 

Cavaradossi 

(vlnto, ma ylgilante) 

Mi avrinci neHuoi laoci!... 
Si verr6 mia sirena! 

(goarda veno la parte donde aid Angelottt) 

Ma or lasciami al lavoro. 

Tosca 

Mi diflcacoi ? 

Cavaradossi 

Urge Popra, lo sail 

Tosca 

Yado! (alaa ffll oocbl e yede il qnadio} 

Chi d quella 
donna bionda lassil ? 



La Maddalena. 
Ti place ? 

T'osca 

E troppo bella! 

Cavaradossi. 

(ridendo ed incblnandoai) 

Prezioso elogio. 

Tosca 

(loapettoaa) 

Ridi? 
Quegli occbi cilestrini io gi^ 11 vidL.. 

Cavaradossi 

(con indifferensa) 

Ce n^i tanti pel mondo I 

Tosca 

(cercando rlcordare) 

Aspetta... Aspetta.- 
iE PAttavanti I 

Cavaradossi 

(ridendo) 

Brava ! 



The babbling brooks, the ruBtling leaven and grasses. 
The night-birds belated, the chirping red-breast and cooing 

turtle-dove 
Murmur the story of the joj that all sorpassesy 
Tell the tale of ardent love. 

Ca^aradossi 
Thou hast oanght me in thy toils^ 
my fair enchantress. 
Siren sweet, I will come 1 

Tosca 

My beloved ! 

Qcifis her head aitainst CaYandoMl^a shoulder. Siralgbtway he draw* bick a little 
fixing hie gate upon the Chapel-gatee) 

Cavaradossi 
Now leave me to my labours. 

Tosca 

(saiprioed) 

YoadiBmissme? 

Cavaradossi 
I most work, child, as thou knowest. 

Tosca 

(ehowtng vexation, rises) 

I am going ! 

■lOTes awinr from Cavaradossi, bat, looking, back, perceives the picture, and retamati 
CaTaradoSfi, much agltared) 

Pray, who is that fair-haired woman there ? 

Cavaradossi 

A Magdalen, (caimiy) Do you like her ? 

Tosca 

She is too handsome. 

Cavaradossi 

(bowing and smiling; 

A flattering judgment 1 

Tosca 

(sospiciously) 

Smil'Bt 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 trinmphantlj) 

The Attavanti! 

Cavaradossi 

(laughing) 

Braval 



ATTO PRmO W 



Tosca 

(cieca dl geloeia) 

La vedi? Ti ama? Tu Tami? Quel passi, 
quel bisbiglio... Qui stava 
pur ora ! Ah la civetta 1 
A me! 

Cavaradossi 

(wrio) 

La vidi ieri - ma f u puro 
caso. A pregar qui venne... e la ritrassi 
noD yisto. 

Tosca 
Giura ! 

Cavaradossi 

(eerio) 

Giuro ! 
Tosca 

(sempre co^li oochi rlvolti al qoadro) 

Come mi guarda 
fiso ! 

Cavaradossi 

(U spinge dolcemente a sccndere dalla gradinata. Bflsa discende allMndietro retieiidr 
alto le sue mani In quelle di Cavaradossi. Toaca soendendo ha seiiipre la riu.*cljt 
^erao 11 qaadro cul Mario ddk le spalle) 

Vien via... 

Tosca 

Di me, beffarda, 

nde. (BonaBces!) 

Cavaradossi 

Follia ! (la Tlene presso dl sd flaaandola In viao 

Tosca 

(loBlsiente) 

Ah, qnegli occhi... quegli occhi !... 

Cavaradossi 

Quale oechio al mondo mai pu6 star di pare 
al limpid(» ed ardi-nte occhio tuo nero? 
In quale mai dell'anima il mistero 
si rivel6 piu subito e piii chiaroY 
k questo il des'iato b qucsto i! caro 
oc'chio ove IVsser mio s'affisa iiitoro. 
Occhio all'amor soav*-. all'ira ticn* 
quale altro al mondo ti pud ^ ai di paroV 



ACT T. It 

Tosca 

(devoured by J»'alon»T> 

Thou see'st her ? She loves thee V 
Thou lov'stLlier 2 

CavaradossI 

(reawaringly) 

Thou art mistaken... 

Tosca 

(not liBtening to him, in her JealoDS rafpe) 

Those footsteps... and all that whisp'ring... 
Ah ! for her you have betrayed me... 

Cavaradossi 

What nonsense! 

Tosca 

That hideous creature! (menacineiy) For her ' 

Cavaradossi 

(irravely) 

I saw her yestem by the merest chance. 
She hither came to pt«y, and — 
unseen — I sketched her features... 

Tosca 

Swear it I 

Cavaradossi 

I swear it (gravely) 

Tosca 

(gazlMg Bteadfa^tly at the pictare) 

See how she ^<Jares, the liarpy 1... 

Cavaradossi 

A was'-, love! 

Tosca 

As thopgh she loatht d and scorned me. 

Cavaradossi 

(frently urging her to descend the stem) 

What folly I 

•hp fnnie« down hackwaroB, holdine both CavaradoraPs hands, and never taking het 
p%»« off the piciure. CayaradoasI preaaea her to him fondly, looking lovingly Into 
^ler eyea) 

Tosca 

Caoftly reproaching him) (See P. F. Score for mN^inir worda.^ 

Ah ' those eyes!... 

Cavaradossi 

No eyes on earth — not the brightest and clearesT- 
Are as lustrous as thine, thou ever deari'St*... 
Why dost thou doubt rae ? What is't thou fearest - 
Why would thy jealous fancy fain discover 
A faithless heart in the loyal breast of thuu* owl 
constant lover ?... 



U TOSCA 

Tosca 

(npiU, appogglando la teata alia epalla dl Cavandoul) 

Oh oome la sai bene 
I'arte di farti amare!... 

(Bern pre inslHtendo nclla ena idea) 

Ma... falle gli ocubi ncri! 

Cavaradossi 

Mia gelosal 

Tosca 

Si, lo sento... ti tormento 
senza (losa. 

Cavaradossi 

Mia gelosa! 

Tosca 

Certa sono - del perdono 
se tu guardi al mio dolor! 

Cavaradossi 

Ogni cosa in te mi piaoe; 

rira aadace 

e lo spasimo d'amor'i 

Tosca 

Dilla anconi 

la parola cbe consola... 

dilla ancora! 

Cavaradossi 
Si, mia vita^ aniante inquieta, 
dird sempre: "Floria, t'amol" 
Se la dolcc anima acquieta 
" T'amol" sempre li dir6! 
Tosca 

(scioislieQdoBi, |»auru ad\^9er vinta) 

Dio, Diol quante peceata! 
M^bai tutta spcttinata. 

Cavaradossi 
Or va - lasciami ! 

Tosca 

Tu lino a Btassera 
stai li. fermo al lavoro. E mi prometti 
cbe sia caso o fortuna, 
sia treccia bionda o nera, 
a pregar non verr&, donna nessana? 



▲cfr I. 
Tosca 

(carried away, and resting her head on his hosom) 

Whether thou'rt false or faithful, Mario, 

I must believe thee. 

But (maiicioosiy) let her eyes be black one«f 

Cavaradossi 

(tenderly) 

Jealoos darling I 

Tosca 
YeB, I feel that I torment thee without reaaoo. 

Cavaradossi 
Jealous darling! 

Tosca 
And I know thou wilt forgive me, 
for I hate to give thee pain. 

Cavaradossi 

My Tosca, dear adored one, 
evVy mood of thine is charming ; 
e'en thy anger is an ecstacy of love 1 

Tosca 
Oh, repeat those words consoling. 
If you love me, pray repeat them I 

Cavaradossi 

My own mistrustful angel, 

I shall always dearly love thee I 

Yes, anxious spirit, 

i shall love thee till I diet 

Tosca 

Seel it is really disgraceful 1 
My hair is quite dishevelled. 

Cavaradossi 
Now go ; leave me. 

Tosca 

Continue to work at yonr picture till nightfall 
And you must promise that no pious lady, 
no fair or dusky beauty, 
shall be admitted here on any pretextl 



aTTO PRIMO IB 



Cavaradossi 

Lo gioro, amorel... - Yal 

Tosca 
Quanto mi affrettil 
Cavaradossi 

(con dolce rImproTero Tedendo rispantare la geloels) 

Ancora ? 

Tosca 

(cadendo nelle sae braccia e porgendogli la gnancia) 

No - perdonal 

Cavaradossi 

(Borridendo) 

Dayanti la Madonna ? 

Tosca 

E tan to baonal 

(on bacio e Tosca esce correndo). 



CAYAItADOSSI - AnGKLOTTI. 

(Appena atcita Tosca, Cavaradossi sta af>coItandone f passi Rllonranarsi, pol con pn* 
caDzione socchindo Tuitcio e ffoarda fuorl. Visto tatto trauquillo, corn- aim 
Cappella. Angellotti appaic snoito dletro la cancellata). 

Cavaradossi 

(aprendo la caacellata ad Angelotti, che nataralment ha dovuto udire H dlalogo prt- 
cedente) 

E buona la mia Tosca, ma credente 

al Gonfessore nalla tien celato, 

ond'io mi tacqui. E cosa piu prudente. 

Angelotti 

Slam soli ? 

Cavaradossi 
Si. Qual'^ il vostro disegno ? 

Angelotti 
A norma degli eventi, uscir di Stato 
o star cclato in Roma. Mia sorella.. 

Cavaradossi 

L'Attavanti ? 

Angelotti 

Si,... ascose un muliebre 
abbigliamento U sotto I'altare... 
vesti, velo, ventaglio. Appena imbruni 
indosser6 quel panni... 



ACT I. li 

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 his lipa) 

Cavaradossi 

(jeaUngly) 

Before the good Madonna ? 

Tosca 

(salatiDf: the image) 

She won't be angry ! 

(about to leave, the again gazes at the pictnre, and says mali<**aaAy) 

But let her eyes be black ones ! 

«zlt hastily. Cavaradoesl remains on the stage, plnnged In thought. Remembering 
Angelotn, he listens to Toeoa's retreating e«fp8, opens the side-<ioor and lookn out. 
Seeing tibatallipquiet,he harries Itack to the chapel. A ngelotti appears behind the rail 
insB, which Cavandoeai opens, letting Angelotti uut of the chapel. They bhake hand« 
ail^onately) 

Cavaradossi 

(to Angelotti, who, of course, has heard the preceding oonTersatloti) 

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 he hidden in the city... My sister... 

Cavaradossi 

The Attavanti? 

Angelotti 

Tes... Concealed a full suit of woman's garmentSi 

there, under the altar... 

The costume lacks nothing essential... 

(looks nervously aroand him) 

rTwill serve after dark as a disguise. 
What say you ? 



16 TU>CA 

Cavaradossi 

Ora comprendol 
Quel fare circospett.o 
e il pregante fi-rvore 
in giovin donna e bella 
m'avean messo in snspetto 
di qualche occulto amorel... 
Era amor di Borellal 

Angelotti 
Tutto ella ha osato 
onde Bottrarmi a Scarpia scelleraio I 

Cavaradossi 

Scarpia?! Bigotto satiro che affiua 

colle devote praticbe - hx foia 

libertina - e st rumen to 

al lascivo talento 

fa il conf essore e il boia I 

Yi 8alver6, ne andassc del la vita ! 

Ma indugiar tino a nottc b mal sicuro. 

Angelotti 
Temo del sole ! 

Cavaradossi 

(indicando) 

La oappella mette 
ad un oroto mal chiuso - indi un oanneto 
mena lungi pei campi a una mia villa. 

Angelotti 
Wi d nota. 

Cavaradossi 

£gco la ehiave - innanzi sera 
io vi raggiungo - portate con vol 
le vesti femminili. 

Angelotti 

(raccoglle In fascio le vestimenta Botto raltara) 

Ch'io le indosfli ? 

Cavaradossi 

Per or non monta, il sentiero e deserto. 

Angelotti 

(pernBcire) 

Addiol 



MUfT 1. 

■-— — aiM rr^^^ ~ • 111 - a^ 

Cavaradossi 

Let us hope so ! Such oircumjipect 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 I 

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 ; 
ji cr oss 'tween confessor and hang man ! 
(indignanUy)— I'll save you, should it cost even my life I 
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, leadd 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 hiddoi under the altar) 

Must I wear them? 

Cavaradossi 

I think you need not, for the path is deserted. 

Angelotti 

(going oat) 

Farewell, then ! 



ATTO PR! MO n 



Cavaradossi 

(arcorrendo verao Angelotti) 

Se urgcssi* il periglio, correte 
al pozzo del giardin. L'acqua ^ ncd fondo. 
ma a mizzo della caiina (e sporgon pietre 
ad agevul d'lHcesa) un picciol varco 
guida ad un antro oscuro, 
rif'ugio impeiietrabile e sicuro ! 

(an colpo di cannone ; i due ei gnardauo agitatiMlmn 

Angelotti 

II cannon del castello ! 

Cavaradossi 

Fu scoperta 
la f iiga ! Or Scarpia i Buoi sbirri Bguinzaglia ! 

Angelotti 
Addio ! 

Cavaradossi 

(con eubita risolazione) 

Con vol verr6. Staremo all'erta ! 
Angelotti 

Odo qaalcun ! 

Cavaradossi 

(con entiisiasmo) 

Se ci assalgon, battaglia ! 

(escono rapidamente dalla Cappella). 



Sagrestano - Allikvi e Canto ni della Cappella - 

ChIERICI - CONFRATELLL 

Sagrestano 

(entra corrGndo, tutto ecalmanato, gridando) 

Sonirao giubilo, Eccellenza ! 

(l^arda verso Pimpalcuio e rimane BorpreBO di non irovarvl neppnre qiieftia volta il 
(lit tore) 

Non c*e piii 1 Ne son dolente ! 
Chi contrista nn misercdcnte 
si guadagna un'indulgenza ! 

laccorrono da o^i.; parte chicrici, confratelli, allicvl e cantori dulla Cappella. Tatl^ 
cufltor o entrano tnmultaosamente) 

Tutta qui la cantoria I 
Presto I... 

Caltri allievi entrano in ritardo c nlla Atv «• r->d«in \nn tutti) 



AC A i. W 

Cavaradossi 

(follows blm barrieclly) 

Should danger be urgent, :akc refuge 
in the garden well. Just half-way uowi. 
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-thot : thej exchange glances of alarm) 

Angelotti 

The cannon of the fortress I 

Cavaradossi 

Tour escape is discovered ! 

Now Scarpia his hounds is unleashing. 

Angelotti 
Farewell, then ! 

Cavaradossi 

(resolately) 

I'll go with you. We will evade them ! 

Angelotti 
I hear a ntep ! 

Cavaradossi 

(enthnBiaBtlcally) 

We'll show fight if they follow ! 

(Exeunt quickly Ibroagh the chapal) 
(Bnter Sacristan hnrriedly, well-»igh breathless, exclaiming :) 

Sacristan 
Glorious news, your Excellency 1 

(astounded at not seeing Cavaradossi seated before the Msel) 

Now, that's a pity ! 
He who grieves an unbeliever gains 
a plenary indulgence I 

;3oyB rush in rlotonsly from all the entrances. Enter Acolytes, Penitents. Chorlsteik 
and Pupils of the Chapel) 

Sacristan 
Hither all the singing crew ! Hither i 



T08CA 

AUievi 

(colla maaslma coufaeione) 
Dove? 

Sagrestano 

In sagrestia. (fpinge alcanl chlerlcl) 

Alcuni AUievi 
Ma che ayyenne ? 

Sagrestano 

Nol sapete ? 
Bonaparte... scellerato... 
Bonaparte... 

Altri Allievi 
Ebben ? Cbe f u ? 

Sagrestano 

Fu spennato, sfracellato 
e piombato a Belzebd! 

Allievii Cantori, ecc. 

Chile dice ?^ 

— E sogno ! 

— i: f ola ! 

Sagrestano 
E veridica parola 
or ne g^unse la notizia ! 
E questa sera 
gran fiaccolata 

yeglia di gala a Palazzo Farnese, 
ed un'apposita 
nuova cantata 
con Floria Tosca ! 
E nelle chiese 
inni al Signore I 
Presto a vestirvi, 
non piu clamore ! 

Tutti 

(rldendo e gridando gioioeamente) 

Doppio soldo... Te Deurn,,, Gloria/ 
Viva il Re !... Si festeggi 1 ^^Htoria 1 



All 

A' hither? 

Sacristan 

This way, good people... 

(pushing them towards the Sacriity) 

AH 
What has happened? 

Sacristan 

Don't you know ? Buonaparte... 
the miscreant Buonaparte... 

AH 
Well, what of him ? 

Sacristan 

Beaten, crushed, humiliated ; 
Satan has him on the hip ! 

All 
Who can prove it ? What silly nonsense I 

Sacristan 

Tis the truth, I do assure ye ! 
Soon the news will be made ]>ablic. 

All 
Twill he hailed with loud rejoicing I 

Sacristan 

rhis very evening there will be great doin^, 

Gala performance an<l torchlight procession, 
A-lso an apposite brand- now cantata. . 
Sung by the Floria with appropriate expression. 
You singing boys 
Put on your vestments, make no more noise. 

Off I off, without delay I 

All 

Tbev bark* At laoKbing and pay no attention to the Sacrisun, who triert In vain u> 
cuive th'^jL Into the eacristy) 

Oouble wages ! Te Deura, gloria ! 

Long live the King ! 
iliis very evening there will be great doingb, 
gala performance, torchlight procession, 
a brand-new cantata sung by Tosca. 

Long live the King ! 
Yes, this evening there will be great do ... 

water Scarpia ap^xnectedly, ho stand m in the doorway ; seeing him. all arf nirickev 
dumb and n««^>odleaa. aa though epelJ-boand) 



ATTO PRIHO 19 



ScABPiA - Sagbbstaho - Cantobi, Alubyi, ece. 

SpOLMTTA - BiBBI. 

(Le loro grida e le loro risa bodo al eolmo, allorchd ana voce i onica tronca bniica. 
mente qnella gazzara volgaredi canti e risa. E i>carpia: dietro a Inl Spoletta e al 
cuni 0biiTi) 

Scarpia 
Un tal baccano in chiesa! Bel rispettot 

Sagrestano 

(balbettando impaarito) 

Eccellenza, il gran giubilo... 

Scarpia 

Apprestate 
per il Te Deum, 

(tatti 0I allontanano mogi: anche 11 Sagrestano fa per cavarsela, ma Scarpia bmsca 
mente lo trattiene) 

Tn resta! 
Sagjestano 

(Impaniito) 

Non mi muovo* 
Scarpia 

(a Spoletta) 

E tu va, fruga ogni angolo, raccogU 
ogni traccia ! 

Spoletta 

Sta bene! 

(fa cenno a dae sbini di segoirlo) 

Scarpia 

(ad altri sbirri) 

Occhio alle porte, 
ica fienza dar sospetti! 

(ai sagrvstano) Qra a te. Pesa 

e lue risposte. Un prigionier di State 
pur or fuggito di Castel Sant'Angelo 
s'd rif ugiato qui. 

Sagrestano 

Misericordia! 

Scarpia 
Forse c'^ ancora. Dov'6 la cappeUa 
degli Attavanti ? 

Sagrestano 

Eccola ! 

(va al cancello e lo vede socchiaso) 

Aperta I Arcangeli ? 
E... un'altra ohiave 1 



ACT I 

Scarpia 

(imperiuusly) 

Pray, why this great commotion ? 
lu a church, too ! 

(Spoleito aud other pollo»-ag«iita follow BcarpU) 

Sacristan 

(affrighted and stammering) 

Excellency ...We were overjoyed... 

Scarpia 

Make ready, all, for the Te Deum. 

all sneak out, and the Sacristan is about to follow their example, vrben 
him stay) 

Stay here ! 

Sacristan 

(alarmed) 

I obey you ! 

Scarpia 

(to Spotetta) 

And go thou, pearch ev'ry comer, 
\ook sharply about you ! 

Spoletta 
I shall so... 

Scarpia 

(••Ignals 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 I 

Scarpia 

He must be here still. 

Which chapel bears the name of tiie Attavanti ? 

Sacristan 

This is it. 

(soee np to the railing, and finds it mlocked) 

Tis open ! Archangels I 
^liis key is a new one I 

(shows k«Tl 



SD TOSCA 

Scarpia 

Buou indizio. Entriamo. 

{entrano nella Cappella, poi ritoroano: Scarpia, ifttsai cotitrariato, ha fnt la maDi on 
▼entagllo chinso che agita iiervoHameute) 

Tardi ! Fu grave sbaglio 

quel colpo di cannone. II mariolo 

spiecato ha il volo, ma lascid una presa... 

preziosa - un ventaglio. 

Qiial complice il inisfatto 

prepare ? 

iresta pvnaieroso, poi guatxla attentamente il ventaglio; a un tratlo egli v( scorge nmo 
atemma) 

La marchcsa 
Attavanti !... II suo stemma... 

(fpiarda intorno, Bcrutaudoogni angolodellachieva: i e>noi occhi ei atreatano aairim 
palcato, ^ugli arncitii del piliore, huI qiiadn)... e 11 iioto viso deiPAttavanti gli appare 
riprodotto nel volto delbi eanta) 

II SUO ritratto I 

(a'. Sttfrrestano) 

Chi fe' quelle piituro? 

Sagrestano 

II cavaliere 
Cavarado8Bi. 

Scarpia 
Lui! 

lono d.l birri che Begni Scarpia, toma d;;:ia Cuppella portando il panlere che Cam 
radoeal diede ad Angelotu) 

Sagrestano 

(vtnleiidulo) 

Numi! II panieie! 

Scarpia 

^Keguitando le Htie rifl(^i«ioni) 

Lui! L'amante di Tosca! Un uom sospetto! 
Un volterrian! 

Sagrestano 

(che andd a tm^rdare 11 panlere) 

Tuoto? Vuotol 

Scarpia 

Che hai detto ? 

(vede il birro col panlere) 

Che f u ? 

Sagrestano 

(prendendo il paiiiere) 

Si ritrovd ueiU cappella 
questo paoier. 



•B An . 

Scarpia 

That giv<*8 a clue... We shall ace 

^tbev «Dt«r the rhaix't aiui ruiurii pruiiiptly, Scarpia mamfastlj annoyed, holding li >ia 
hand a closed fufi, which be fliitiera nervouisty) 

A 8tu|>id blunder (aaide) that gansbot from 
the fortress; it gave the criminal timely 
warning, and he fled. But be left here 
this bauble... (waving the fan) A love token. 
What fair accomplice helped him to escape t 

*lmiged in thought, caref allj inspects the fan, and saddenly catching sight of a coa^ 
>f-arm8, exclaims) 

'Twas the fair Attavanti !... 
These are iier arms... 

Clooks amand, examining every nook and corner of the Charch. Hl» attention Is caught 
bj tht^ eraffolding, the painter's easel, and the pictnre, which reproduces the well' 
known face of the Marchic»";Ms Attavanti in a counterfeit presentment of Mary 
Magdalei ) 

It is h©^ portrait. 

(to the Sacristan) 

Who painted that picture ? 

Sacristan 

(still terror-stricken) 

Sir Mario Cararadossi... 

Scarpia 

He I 

Sacristan 

(perceiving a police-agent, who issues from the Chapel, basket in Iiand> 

Bless me ! 'Tis bis basket I 

Scarpia 

(following up his train of thought) 

He 1 The lover of Tosca ! 

A man suspected I An unbeliever I 

Sacristan 

(having looked Inside the basket, exclaims in great aaipriM) 

Empty I ... 

Scarpia 

(catching sight of the agent and the basket) 

What said'st tbou ? Speak up I 

Sacristan 

(takes the basket from the agent) 

It has been found inside the Chapel, 
hidden away. 



ATTO PRIMO 



Scarpia 

Ta lo conosci ? 

Sagrestano 

Certo! 

(d edtante e pAuroBo) 

E il cesto del pittor... ma... nondimeno.- 

Scarpia 

Sputa quello che sai. 

Sagrestano 

lo lo lasciai ripieno 
di cibo prelibato... 
U pranzo del pittorel... • 

Scarpia 

(attonto, inqnirente per Booprir teneno) 

Avril pranzato! 

Sagrestano 

Nella cappella ? Non ne avea la chiave 
ni oontava pranzar... eisse egli stesso. 
OndHo gi^ I'avea messo 
qual mia spoglia al riparo. 

(mostra dove area riposto il panlere e to lo laada) 

Scarp^'a 

(Tutto ^ chiaro... 

la prov^ista - del sacrista 

d' Angelotti fa la preda !) 

(Bcorgendo Toaca che entra f rettoloio) 

Tosca ? Che Don mi veda. 

(ripara dietro la colonna doT*6 la plla deiracqna benedeua) 

(Per ridurre an geloso alio sbaraglio 

A Jago an f azzoletto - a me an ventaglio I) 



TosGA - SoARPiA - Sagrestano. 

Tosca 

(com al palco ■icnra di trovare Cavaradoflsi e sorpraaa di non Tedsrlo) 

Mario?! Mario? I 

Sagrestano 

(che el trova al pledi deirimpalcato) i 

II pittore 
CayaradoBsi? 

Chi sa dove sia 

Peretico e con chi ? 

Sgattaiol6, Bvani 

per Baa stregoneria. (e w la tyiRiui) 



ACT I. m 

Scarpia 

Dost reoognise it ? 

Sacristan 

Doubtless I It is the painter's basket •••• 

(summering UmidlT) 

but ... notwithstanding.... 

Scarpia 

(vehemently) 

Spit out all that you know ! 

Sacristan 

(•till affrighted, tearf ally holds np the empty hasket) 

I brought it hither, 

filled with the best of food and liquor.- 

The painter's mid-day meal... 

Scarpia 

(•igniflcantly) 

Which he has eaten ! 

Sacristan 

(making a negatiye geetare) 

Not in the Chapel ! 

for he had l^ot the key, nor did he 

mean to eat at all ... at least, so he told m«. 

Hence I had set it down there, 

(points 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 himseio 

Scarpia 

(aside) 

^Tis clear as daylight ... The provisions 
of the Sacristan were devoured by Angeloiti. 

IBnter Toeca nerronsly ; she walkes straight np to the scaffolding. Not finding 
Cavaradoesi there, In great agitation, she searches for him in the cenual nave of the 
charch Scarpia, as soon as ne 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 witn confosion, stands near the palBter*B dals)^ 

Tosca I She must not see me. 

'Twas a 'kerchief lit Othello's jealous fire, 

Now shall this fragile fan rouse Tosca's ire I 

Tosca 

(retams to the dsb, calling ont loadly and impatiently) 

Mario ! Mario ! 

Sacristan 

(approaching her) 

Do you mean Oavaradossi ? 

Where he is, who can say ? 

Obedient to some spell, he vanished clean away. 

(exit furtively) 



m TOBOA 

Tosca 

Ingannata? No... no... 
tradirmi egli non pa 6 ! 

Scarpia 

liA fCinto la colonna 6 bI preBcnU a Toscaj porpresa del sao aobito apporlre. Ictiboge 
le dita nella pila e le offre Tacqaa bencdetta ; f aorl laonano le campan*^ cbe 
iDvitano alls caleBa). 

Tosca divina 

la mano mia 

la vostra aspetta -* piccola manina, 

non per galanteria 

ma per offrirvi Pacqua benedetta. 

Tosca 

(tocca le dita d! Scarpia e 91 fa ii ee^o della crooe) 

Grazicy signor ! 

(. oco a poco entnuQO in chiesa, e vanno nella navata principale, popolani, borgbeal, 
ciociare, trasteverine, soldati, pecorari, ciocinri, meodlcaDti, ecc.: poi on Vardiuale, 
3ol Capitolo, si rcca airaltare magf^ore ; la folia, rivolta veno Taltare maggiore, 
«i accalca nella navata prlnclpale). 

Scarpia 
Un nobile 
esempio il vostro - al cielo 
piena di santo zelo 
attingete delParte il magistero 
che la fede ravviva 1 

Tosca 

(dlstratia e pensoea) | 

Bont^ vostra. 

Scarpia 
Le pie donne son rare... j 

V oi calcate la scena... 1 

(con Intenzione) 

ma in chiesa ci venite per pregare. 

Tosca 

(sorprCBa) 

Che intendete ? 

Scarpia 

£ non fate 
Come certe sfrontate 
che hanno di Maddalena (indica 11 ritntto) 
viso e costurai... e vi trescan d'amorei 

Tosca 

(Bcatta pronta) 

Jbe ? D'amore ? Le prove t 



Tosca 

Has he betrayed me ? No I 
To me he could not be untrue. 

Scarpia 

\taru. ronnd the pillar, dips bUi fingers in tlie troagh, and offera holy water to TVMea 
Bella ring to church) 

Tosca divinest, 

(gentlj &ac inainiiatingly) 

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 croeses heneif ) 

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. 

(SeTeral 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. (Bmphaticaiiy.) 

Tosca 

(starting) 

How ? Their lovers T What m«an you ? 



ATfO PRIVO 



Scarpia 

(mostra il ventifcUo) 

^ arnese di pittore 
qnesto? 

Tosca 

(lo aflerra) 

Un ventaglio? Dove 
stay a? 

Scarpia 

L^ su quel paloo. Qnalcan venne 
certo a sturbar gli amanti 
ed essa nel faggir perd^ le pennel 

Tosca 

(eflamlnando 11 ventaglio) 

La coronal Lo Htemmal E PAttavantil 
Ah presago sospetto! 

Scarpia 

(Ho Bortiio Teffettol) 

Tosca 

(trattenendo a stento le lagrlme, dimentica del luogo e di Scaipla) 

Ed 10 venivo a lui tutta dogliosa 

per dirgli : invan stassera 

ai sospirosi amanti il cicl s'infosoa 

Pinnamorata Tosca 

del regali tripadi h prigioniera!... 

Scarpia 
{Qik il veleno Tha rosa.) 

(melliflno a Toecal) 

O che v\)ffende, 
dolce signora ? 
Una ribelle 
lacriina scende 
sovra le belle 
gnancie e le irrora; 
dolce signora, 
che mai v'accora? 

Tosca 

Kullal 



ACT I. 

Scarpia 

(showing her the fan) 

Is this a painter's brash or maM^tiok ' 

Tosca 

(seizing It) 

Tis a fan ! Where did yon find it f 



There, on the easel. (Enter the petauits) 

Some casual worshi]>per8 disturbed the lovers, 

and in her hasty flight she dropped some feathers !•• 

Tosca 

(examining the fan) 

A coronel I Her arms, too ! 

*Tis AttavantPs ! Prophetic suspicion ! 

Scarpia 
(Mide) My design has succeeded 1 

Tosca 

(p uiwmfto llyt natraining her tears with difficalty, 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 

(Mide) How the poison is working ! 

(enter groaps of peasants, carters, etc.) 

(genUy) What has aggrieved yon. 
Sweetest of creatures ?... 
Say, has some traitor basely deceived yon. 

That tears bedew those exquisite features? 
Tell me, fair Tos«a, what has aggri< ved you^ 

Tosca 

Nothing ^ 



m T08CA. 

Scarpia 

(ineiniuuite) 

lo darei la vita 
per asciugar quel pianto. 

Tosca 

(non ascoltandolo) 

lo qui ml struggo e intanto 

d'altra in braccio ei le mie smanie deride ! 

Scarpia 
(Morde il veleno.) 

Tosca 

(sempre pift crocciosa) 

Dove son V Potesai 
coglierli i traditori. Oh qual sospetto! 
Ai doppi amori 
k la villa ricetto. 

(con immenao dolorc) 

Oh mio bel nido insozzato di fango! 

(cod proDia rii*olazloDc) 

Vi piomber6 inattesa. 

(rivolu al quadro, minacciosa) 

Tu non Tavrai stanotte. Giuro! 

Scarpia 

(Bcandolezzato, quasi rimproverandola) 

III chiesal 

Tosca 

Dio mi perdoua. Egli vede ch'io piangol 

parte *Q grande agftaalone: Scarpia ruccomiui^'Tiu. fln(;fDdodl nuelcorarla. Appeta 
OBcita Tosca, Scarpia riioma prcceo la coloniia e fa iin cenno;. 



Scarpia 

(a Spoletta che thnca dl dletro la colonna) 

Tre sbirri... Presto - seijuila 

dovunque vada... non visto... e provvedil 

Spoletta 
Basta. II convegno ? 

Scarpia 

A Palazzo Famesel 

'flT)oi»Tt« OAite rftDidamente ''nti trn ablrrl) 



•i ACT 1. 

•^i^^^ _■■■■■ . -..»— I  » I  

Scarpia 
My life Fd give, could I mitigate yo«r angaisk 

Tosca 

(not listening to him) 

And here in grief I must languish. 

While, embraced in other arms, he derides me I 

Scarpia 

(Well works the poison 1) (adda) 

Tosca 

. Where am I? 

(A few ciUzeDB Blroll In) 

How could I think he would yield to temptation ? 

My pretty villa I (angrily) 
Must I submit to its vile profanation ? 

Cruel Mario ! 
In mire my nest of love they have been steeping I 

(reeolotely) 

ni purge it of their vileness ! 

(tarns threateningly towards the picture) 

To-night thou shalt not possess him 1 

(deaperately) 

I swear it ! 

Scarpia 

(scandaliied) 

In ohnroh ) Fie i 

Tosca 

(weeping) 

God will forgive me, for He sees I am weeping I 

|W>b« httterly. Scarpia accompanies her to the door, pretending!: to reassure her. After 
her exit, the churcn becomes gradually fuller and fuller. Having escorted Tosca to 
the charch-door, Scarpia returuH to ihe cbapel-eate and makes a sign, 1u obedience to 
which Spoletta issues from behind the pillar. The crowd withdraws to the back *^* 
tiM church, awaiting the Cardinal; some kneel down and pray) 

Scarpia 

T^rgfi Agffintf^j ^ad a c losft ffarriaj^p . Quickly... 
follow her whithersoever she may go... Be careful I 

Spoletta 
I will When shall I find you f 

Scarpia 
At the Farnes^ Palace I 

(Xzit SDoletttt konlMllj. ScarpUsmii jBgardoaictUjI 



ATTOPRIMO 



Va, Tosca ! Nel tao ouor s'annida Scarpia. 

Egli ti segue e ti sospinge. ^ Scarpia 

che seioglie a volo il falco 

deila tua gclosia. Quanta prome8sa 

nel tuo pronto sospetto ! A doppia mira 

tendo 11 vcler, n6 il capo del ribelle 

^ la pid prezlosa. Ah di quegli occhi 

vittorlosi vedei e la fiamma 

illanguidir nello spasmo d'amore ! 

La doppia preda avrd. L'uno al capestro, 

Paltra fra le mie braccia... me ne affida 

i'invincibil deslo... 

d wnto uuTO dal fondo della chiesa lo icaote, come STOgllandolo da an togno. 81 ri 
mett<i. fa il segno della croce gnardandoal Iniomo, e dice:) 

ToMsa, mi fai dimenticare Iddio ! 

SpMnginocchia • prega 4avotam«ite). 



ACT I. 8ft 

Gk>y Tosca ! Tlierc is room in your heart for Scarpia .. 

|Tb» Cardinal and his following advance to the hlffh altar : the BwimH nuarda divide tha 
crowd, which rangea it«elf on either b de of Uie iirocceaion. Organ play») 

Oo, Tosca ! For Scarpia it is who has fired 
your sonl and stirred up your jealous passion. 

(Cannon fired) 

Infinite promise lies in your hasty suspicions. 
There is room in your heart for Scarpia... 

Oronically) 

Go, Tosca I 

'He bows reverently as the Cardinal pasaee by, bleaalng the kneeling throoKJ 

(Fiercely) Twof old the purposc now I entertain, 

and the hanging of that rebel 

is by no means my chief desire... 

*Tis in her gay, triumphant eyes that 

I hope soon to kindle love's languid flame, 

when in my arms she is clasped, 

mute with fond rapture, giddy with am'rous joy, 

(SaTageiy) One to the scaffold, a nd 

the other to my fo>id arms... 



Ttte vrhole crowd turns towards the high altar. Many kneel. Scarpia ecadda rawrapt 
\Mk tbooght, then starts, aa in a dream) 

Tosca 1 for thee T could renounce 
my hopes of heaven ! 

(With rellgiooa ferrour, kneeling) 

Te aiemum Patrem, etc. 



/ 



/^ 



iiiiiiC^ i i iiCi ^ iiiCiiciS ' iii 'i iiiCf^^ 



ATTO SECONDO 



La camera di Scarpia 

al piano superiore del Palazzo Farnese. 

* 

Tavola imbandita. Un'ampia floestra verso il cortile del PaUzzo. 
Ij notte. 

Scarpia 

(d -Bedatoalla tayola e vi cena. Interrompe a tratti la cena per rlflettere. Gaarda V or» 
log\o : d Bmanioeo e peosieroso) 

Tosca ^ un buon falco !... 

Certo a quest'ora 

i miei segugi le due prede azzannano ! 

Doman sul palco 

vedrft I'aurora 

Angelotti e il bel Mario al laccio pendere. 

(snona - entra Sciarrone) 

Tosca ^ a palazzo ?... 

Sciarrone 

Un ciambellan ne usciva 
par ora iu traccia 

Scarpia 

(accenna la ftneetra) 

Apri. - Tarda ^ la notte. 

(dal piano inferiore - c^e la Retina di Kapoll, Maria Carolina, d& ana g^'ande feeta ts 
onore di Melas - (>1 ode il suonare di un^orcheatni) 

Alia cantata ancor minca la Diva, 
e strimpellan gavotte. 

(a Sciarrone) 

Tu attenderai la Tosca in suirentrata; 
le dirai ch'io I'aspetto 
finita la cantata... 
o meglio... 

(■i alza e ya a ficrivere in fretta an blglietto) 

le darai questo biglietto. 

(Sciarrone esce) 






CCvvCwOCCvvvvXwCOXvy^^ 



ACT II. 



Scene: The Farnese Palace. 

Scarp ta*8 apartments, on an upper floor. The table is laid for 8up[>et 
A large window overlooks the Palace Courtyard. Nightfall. 



(Soarpia is seated, eapplng and breaking off at Intervals to reflect. From time to tiiiu 
be looks at his watch, manifesting sgitatlon and dtsquietade.) 

Scarpia 

A good decoy is Tosca, and, by this lime, 
ray people have secured the two conspiratom. 
To-morrow's sunrise shall see them 
hanging side by side like dogs, 
upon my tallest gallows. 

(rings a hand-bell. Enter Sciarrone.) 

Is Tosca in the Palace?... 

SciaxTone 
A page has been despatched 
to fetch her hither... 

Scarpia 

(to Sclarrone, pointing to the window) 

Open! 

CAn orcbeelra is andible in a lower storey, where Queen Caroline is giving an entsir 
tainment in honour of General Mclas.) 

Late is the hour... For Tosca 

tneyre waiting to commence the Cantata, 

and meanwhile they are dancing, (aside) 

(to Sciarrone) 

You will await the Tosca at the entrance, 
and will tell her I expect her 
at the end of the Cantata... 

(He recalls Sciarrone, who is going, ri^ee, crosses the stage to a lugn oesa, and bnf^ 
riedly write* a note, handing It to Sciarrone) 

^ gure yon give her this letter 



ATTO BBCOIOK) 



Scarpia 

(Biede ancora a tavola) 

Ella yerr^... per amor del suo Mariot 

Per amor del suo Mario al piacer mio 

g'arrender^. Tal dei profondi amori 

d la profonda miseria. Ha piii forte 

sapore la conquista vlolenta 

ohe il mellifiiio consenso. lo di sospiri 

6 di lattiginose albe lunari 

poco mi appago. Non so trarre accordi 

di cliitarra, ne ordscopo di fiori, 

nd far I'occhio di pesce, o tubar come 

tortora! ^alzandoal) 

Bramo. - La cosa bramata 
perseguo, me ne sazio e via la getto 
volto a nuova esca. Dio creo diverse 
belt^ e vini diversi. lo vo* gustare 
qaauto pitl posso delPopra divinal 

(bevc) 

SciaxTone 

(entrando) 

Spoletta d giunto. 

Scarpia 

Entri. In buon panto. 



Scarpia - Spoletta - Scjabbone. 

Scarpia 

Cri ilede e tatt'occopato a cenare, interroga in tan to Spoletta ucuza {^iiardailol 

O galantuomo, come andd la caccia ?... 

Spoletta 

(Sant' Ignazio mi aiutal) 

Delia signora segnimmo la traccia. 

Giunti a un'erma villetta 

tra le fratte perduta 

ella vi entrd. Ne usci sola ben presto. 

lo allor Bcavalco lesto 

il muro del giardin co' miei cagnotti 

e piombo in casa... 



ACT n. r 

Scarpia 

She will come.. .for the sake of her Mario J 

For the sake of her Mario, 

she will comply with my desire. 

Such are the alterations of love's 

deep joys and deep sorrows. 

Keener far is the relish of a forcible conquest 

than of a passive surrender. Sighs of entreaty 

and sentimental rhapsodies by moonlight 

do not delight me. I am not skilled 

in twanging the guitar, not in f 

fortune-telling lore ; I cannot leer nor ogle, ' ^ 

nor coo like any turtle-dove, (disdainfully) ^ 

(he rbes, bat does not leave the table) 

Hence must I strive for the thing I desire. ( . 

I possess it, and then discard it, 

turning to other pleasures. 

God created beauty and wine of various 

merit ; I choose to taste all that I can 

of the heavenly produce. 

(enter Sciarrone) 

Sciarrone 
Here is Spoletta. 

Scarpia 

(loadly, in great excitement) 

Bring him to me forthwith. 

Scarpia 

(resnmes hit teat. Exit Sciarrone to sommon Spoletta, who retnmt with him and talce» 
op his stand near entrance C. Bosy with bis sopper, Scarpia interrogates Spoletta 
witboot looking at him) 

Well, my fine fellow. 

Spoletta 

(coming forward nerronsly) 

Saint Ignatius protect me ! (aside) 
(aloud) Quickly we followed the track of the lady. 

Soon we arrived at a villa almost hidden by foliage ; 
Madam went in, and came out again promptly. 
Straightway I lightly scaled the coping of the wali 
with my companions, and entered the garden . 



2b To;.-^^ 

# 

Scarpia 

Quel bravo Spolettal 

Spoletta 

(eritando; 

FintoL. razzolol... frugol... 

Scarpia 

Cri ayrede deirindeclslone dl Spoletta e si leva rltto, pallido d'im, le ciglia cf>mimTe> 

Ahil PAngelotti ?,.. 

Spoletta 
Non b'6 trovato. 

. Scarpia 

(fnreate) 

Ah cane! Ah traditorel 
Ceffo di basiliscOy 
alle forche!... 

Spoletta 

Gesii! 

(oercando scongiarare la coHera dl Scarpia) 

Cera 11 pittore... 

Scarpia 

Cavaradossi ? 

Spoletta 

(accenna dl ei^ ed aggionge pronto) 

Ei sa 
dove I'altro s'asconde. Ogni suo gesto 
ogni acceiito, tradia 
tal beffarda ironia, 
ch'io lo trassi in arresto! 

Scarpia 

(con Boepiro di soddlafaalone) 

Meno male! 

Spoletta 

(acenna airanUcamera) 

- Egli^l^ 

f Scarpia paaaeggU medltando: anntrattosiarreeta: dall*aperta flneatraodeai la Cai 
tata ei^egaita dai Corl nella sala della Regina). 

Scarpia 

(a Spoletta) 

Introdiicete il Cavaliere. (Spoietta eece) 

(aSciarrone) A me 

Robert! e il Giudice del Fisco. 

(Sdarrone'jece; Scarpia slede dl naoTOX 



M ACT n. 

Scarpia 
Well done, good Spoletta I 

Spoletta 

(hesitantly) 

Vainly we searched the house.., 

Scarpia 

• perceiving SpoIetta*8 embcuTassment, arises, pale with anger, and frowning formidably) 

Ah! Angelotti? 

Spoletta 
We could not find him 1 

Scarpia 
Base scoundrel ! Vilest of traitors 1 
Spawn of the fiend incarnate I 

to the gallows ! (furiously) 

Spoletta 

Good Lord 1 

(trying to assuage Scarpla's wrath, says timidly) 

The painter was there... 

Scarpia 

(interrupting him) 

Cavarsftiossi ? 
Spoletta 

(nodding affirmatively) 

He knows where the other one is hidden... 

His scornful gestures, his contemptuous scoffings 

aroused my suspicions ; so I put him in irons... 

Scarpia 

You did wisely. 



(Spoletta is evidently relieved, Scarpia walks about thoughtfully, then sndde 
still, hearing through the open window the cantata execat*^ by the choirs i 



suddenly Sfande 
iiupembleti 
in the Queen^s reception-rooms. The singing proves that Tosca has returned and is 
actually in the Palace, on the storey beneath Scaipia's apartmtnta) 



Spoletta 

(pointing towards the ante-room) 

He is there ! 

Scarpia 

(snddeni^ struck by an Idea) 

Bring in the prisoner straightway. 

(exit Spoletta) 

(To sdaronne) Hither Robert! and the Judge of the Exchequer. 

(resumes his seat. Spoletta and three police-agents bring inCavaradosst. Bnter Robertl 
the executioner, an Exchequer Ju<^e with nls cleric, and Sclarroue) 



ATTO SEC0!^DO 



Spolbtta e quatro hirri introducofto Masio Cavabadossi 
Poi RoBERTi, esecutore di Gtuatizia^ U Giudice dki 
Fisco con uno Scbivano e Sci arsons. 

Cavaradossi 

(alteramentt;) 

Tale violenzal... 

Scarpia 

(con Btndlata cortesla) 

Cavalier, vi piaccia 
aceoraodarvi. 

Cavaradossi 

Vo' saper... 

Scarpia 

(accennando ana sedia al lato opposto della tavola) 

Sedete. 
Cavaradossi 

(liflutando) 

Aspetto. 

Scarpia 
E sia! - Vi 6 nolo die un prigione... 

(odefll la voce di Tosca che Prende parte alia Cantata) 

Cavaradossi 
La sua voce!... 

' Scarpia 

(che si era Interrotto alPadire la voce d! Toaca, riprende) 

...vi ^ note che un prigione 
oggi b f uggilo di Castel Sant'Angelo ? 

Cavaradossi 

IgDoro. 

Scarpia 
Eppur di pretende che voi 
Tabbiate accolio in Sant'Andrea, prowisto 
di oibo e vcsti... 

Cavaradossi 

(rlffolato) 

Mcnzogna! 
Scarpia 

(contlnoandoamantenersi calmo) 

...e guidato 
9.0 Tin voBtro pod ere subiirbano. 

Cavaradossi 

Netfo. - Le prove ? 



ACT n. 

Cavaradossi 

(angrily) 

Why this outrage ? 

Scarpia 

(with elaborate coarte»y) 

Noble sir, I beg you to be seated... 

CaYaradossi 

(firmly) 

I wish to know... 

Scarpia 

(pointini{ to a chair on the other pido of the table) 

Be seated... 
Cavaradossi 

(refnalng) 

No, thank you. 

Scarpia 

As you please. 

(looks Bteadfaatly at CavaradOMl bef«>re qiicstioDiug him) 

To-day escaped from priaon- 

(breaking off at the aound of Toeca's Toice singing in the cantata) 

Cavaradossi 

*Ti8 her voice I... (hearing ToBca) 

Scarpia 

(reenming) 

To-day escaped from prison one whom 
you know to be a dangerous criminal, 

Cavaradossi 

I know nothing 1 

Scarpia 

And yet it is alleged that you concealed 
him in the Church of Sant' Andrea, and 
provided him with food and with raiment.. 

Cavaradossi 

(reeolntelj) * 

Mere falsehoods I \ 

Scarpia 

(preeerrlng a calm demeanour) 

Later on, you conveyed him to a 
villa in the suburbs... 

Cavaradossi 
I deny it. Who says so ? 



80 TOSCA 

- — . < "i      "  ^    — 

Scarpia 

(melUflao) 

Un suddito fedele... 

Cavaradossi 

Al f atto. Chi mi accusa ? I vostri birri 
fragaro invaii tutta la villa. 

Scarpia 

Segno 
che d ben celato 

Cavaradossi 

Sospotti di spia! 

Spoletta 

(offeno, interviene) 

AUe nostre ricerche egli sideva... 

Cavaradossi 
E rido ancor. 

Scarpia 

(con ^pcento pcvero) 

Questo ^ luogo di lacrimel 

<Bi al£ae cblnde stisslto la flnestra per non easere disturhato dai canti che haimo Inog: 
nol piano eottostanttr : poi si volgu linperioso a CaTaradosel:) 

Ov'6 Angelotti? 

Cavaradossi 

Non lo so. 

Scarpia 

Negate 
avergli dato cibo ? 

Cavaradossi 

Nego! 

Scarpia 

E vesti 9 

Cavaradossi 
Nego! 

Scarpia 

J Ed asilo alia villa ? 

Cavaradossi 

Nego I 

Scarpia 
E che Ik sia nascosto ? 

Cavaradossi 

(con f orxa) 

Negoi negol 



19 ACT li. 

Scarpia 

(mildly) 

A faithful, honest servant... 

Cavaradossi 
To the purpose. M j accuser ? 
In vain (ironically) jour myrmidons hart 
searched the villa. 

Scarpia 

Proving he was well hidden. 

Cavaradossi 

Tour spies could not find him ! 

Spoletta 

(interpoaea, offended) 

Scoffing and sneering, he laughed at all 
our endeavours.., 

Cavaradossi 

And still he laughs. 

Scarpia 

(rising in anger) 

This is no place for merriment ! (threateningly) 
I warn you ! Enough now * (nerroasiy) 
Answer truly 1 

diatnrbed and annoyed by the alngimj, he cloaea the window. ImperiooBly ^ 
Cavaradoaai) 

Where is Angelotti ? 

Cavaradossi 

I do not know. 

Scarpia 

Tou never with food and drink supplied him V 

Cavaradossi 
Never I 

Scarpia 

Nor with gai-ments ? 

Cavaradossi 

Never I 

Scarpia 

Nor concealed him .a vour villa, 
where he still lies hidden f 

Cavaradossi 

(yehemently) 

Never ! Never ! 



ATTO 8ECONDO 



Scarpia 

(ftBtntamente, litomando calmo) 

Via, Cavalier, peDsateci: I'uom saggio 
piega alia legge.., armata. Una BoUecita 
confess'ione pu6 cansar dal vostro 
capo molte sciagare. Date retta: 
dov'^ Angelotti ? 

Cavaradossi 

Non lo BO. 

Scarpia 

Badate! 

L'ultima volta. Dov'5 ? 

Cavaradossi 

Non lo bo! 

Spoletta 

(O bei tratti di corda!) 

ToscA, cntra affannoBCU 
Scarpia 

(vedeDdoToBca) 

(Eccola!) 
Tosca 

(▼ede Cavarado«8i e corre ad abbracclarlo) 

Marioi 

tu qui ? I 

Cavaradossi 

(Bommeseamente; 

(Di quanto U vedesti, taci, 
o m'uccidi!...) 

(ToBca accenna che ha capito) 

Scarpia 

(con 8oleiiDit&) 

Mano Cavaradossi, 
• qnal testimonio il Giudice vi aspetta. 

(a Roberti) 

Pria le forme ordinarie. - Indi... a miei cennL 

mciarrone apre Tubcio che dA alia camera della tortnra. H GIndice vl cntoa c gU altTi 
irigaouoTrlmaiiendo Toaca e Scarpia. Spoletta al rltira preaao alia porta In foudo 
al.asala) 

Scarpia 
Kid or f ra noi parliamo da buoni araici. Via 
quoLl'aria sgoro en ta,.. (accenna • to«» d* •«d«»T«> 



ACT D. « 

Scarpia 

<Alm<Mt paternally) 

I pray you, give my words attention ; 

stubbornness such as yours is far from wise, 

believe me. By frank confession 

you may avert the pain that else awaits you« 

Let me advise you ; tell me ; 

where is now Angelotti ? 

Cavaradossi 
I don't know. 

Scarpia 

Once more, and for the last time. 
Where is he ? 

Cavaradossi 
I know not ! 

Spoletta 

(aside) 

(How he tightens his clutches !) 

CBnter Toeca in alarm; she mna ap to Cararadoni and embrace* him) 

Tosca 

Mario ! thou here ! 

Cavaradossi 

(nnder his breath to Toeca, who makes fligns that ebe understands) 

Say nothing of what you have seen there, 
or you will kill me I 

Scarpia 

Mario Cavaradossi, the judge is 
• waiting to take your deposition. 

(signals Sclarrone to open the entrance to the tortare-chamberf and tarns to Robert!) 

First the usual pressure ; later, as I instruct you«.. 

(The Judge passes Into the tortare-chamber, and the others follow him, only Tosca and 
Scarpia remaining behind. Spoleita withdraws to the door situate C at the back of 
^he stage. Soiarrone closes the door X, greatlj to Toeca^s surprise. Scarpia reas- 
ires her with sedulons politeness) 

Now let us have a friendly talk together 

(signs to her to be seated) 

There is nothing to alarm you... 



at n )8CA 

Tosca 

(isifde con calma sindiata) 

Sgomento alcan doh bo. 

Scarpia 
La storia del ventaglio ?... 

(pasoa d'etro a] canapd sol quale si d eedata Tosca e ▼! si app(^^a, parlando aemivp 
con galantferia) 

Tosca 

(con aimalata indifferenza) 

Fu sciocca gelosia. 

Scarpia 

L'Attavanti non era danque alia villa ? 

Tosca 

No: 
egli era solo. 

Scarpia 

Solo ? - Ne siete ben Bicura ? 

Tosca 

Nulla sfugge ai gelosi. Solo! solo! 

Scarpia 

(prende una eedla, la porta di f ronte a Toeca, vi bI liede e gnarda flasamente Toicaj 

Davver? 
Tosca 

(IrriUta) 

Solo! sil 

Scarpia 

Qaanto fuoco! Par che abbiate paura 

di tradirvL 

" (chiamando) Sciarronc; che dice il Cavalier? 

Sciarrone 

(appareodo sul limitare delVvjBCio) 

Nega. 

Scarpia 

(a voce piil alta vereo 1 a!*clo aperto) 

Insistiamo. 

(Sciarrone rientra nella cavaera della tortora, chiudendone Pnscio) 

Tosct 

(ridendf 

y Oh, inutile. 

Scarpia 

(•eriiflsimo, si absa e passeg^a) 

Lo vedremo, signora. 



ACT n. 

Tosca 

(altfl down with affected calm) 

Kor do I feel alarmed^.. 

Scarpia 

Oeaas on the back of the sofa on which Toeca 1« leatad) 

The Btory of the fan ?.., 

Tosca 

(with feigned Indifference) 

Was one of silly jealousy... 

Scarpia 

The Attavanti, it seems, was not at the yilla ? 

Tosca 

No. No one but he was there. 

Scarpia 

No one ? (maiiciooBij) Of that you are quite certain ? 

Tosca 

I saw all that there was to see. viusutenUy) Alone ) 

Scarpia 

Indeed I 

Tosca 

(InlUted) 

Tes, alone I 

Scarpia 

What excitement I 

Do you fear to commit some indiscretion ? 

(turning towards the entrance to the torture-cbamber) 

Sciarrone, what does the witness say ? 

Sciarrone 

(appears In the doorway) 

Nothing I 

Soarpia 

(still more loadly) 

Be more urgent. 

(Sciarrone retiree, cloelng the door) 

Tosca 

(laagblng) 

Oh 1 'tis useless I 

Scarpia 

(grayely, walking abont the room) 

We shall see, fairest lady. 



ATTO 8ECIIN IK) 



Tosca 

Dunqne per comjuacervi si dovrebbe mentir? 

Scarpia 

No; ma il vero potrebbe abbreviargli un'ora 
assai penosa... 

Tosca 

(Borpresn) 

Un'ora penosa? Che vuol dir? 
Che avviene in quella stanza? 

Scarpia 

E forza che si adempi& 
la legge. 

Tosca 
Oh! Diol... che avviene? 

Scarpia 

Legato mani e pi^ 
il vostro amaiilc ha un cerchio uncinato alle tempia 
che a ogni niego ne sprizza sangue senza merce. 

Tosca 

(halza In piedl) 

Non d viT, non Ci vero! Sogghigno di demdne... 
Quale oiTcndo silenzio!... Ahl un gemiio... piet^.. 

(a^colta ansiosamente) 

Scarpia 

Sta in voi salvarlo. 

Tosca 

Ebbene... ma cessatel 

Scarpia 

(va preeso airoacio) 



Bciogliete. 



Sciarrone, 



Sciarrone 

(0i presenta sal limitara) 

Tutto? 

Scarpia 
Tutto. 

(BelERone entra di uuovo nella camera cnuia tortu. , chiudendo) 

(a Toaca) Ed or... la verit&, 



ACT II. IS 

Tosca 

(slowly, smiling ironicslly) 

Thus, if I Wish to please you, 
I must tell you untruths ? 

Scarpta 

No; by truthfulness only he may 
be spared an hour of anguish. . . 

Tosca 

An hour of anguish ? (sarprlsed) 

What do you mean ? 

What is happening in that chamber ? 

Scarpia 

The I^ws are there enforced, to the letter. 

Tosca 
Oh, God I and how ?... 

Scarpia 

(with ferocioas sterDness) 

Bound hand and foot, your lover there lies 
prostrate, a fillet of steel encircling his templea^ 
from which a jet of blood 
spurts out at ev'ry denial I 

Tosca 

(tottering to her feet) 

Tis not true ! What a fiendish invention I... 

(CavarsdoBsl groans deeply) 

A groan ? Have mercy I 

Scarpia 
Speak out and save him. 

Tosca 

Tes, yes... but release him I 

Scarpia 

(turning towardn the entrance £.) 

SciaiTone, loosen him ! 

Sciarrone 

(appearing at the threshold) 

Quite ? 

Scarpia 

Qaite. 

(Sciarrone re-enters the tortnre-chamber, do ing the dootj 

And now, tell me the truth. 



84 TOfcK^A 

Tosca 
Ch'io lo veda I.., 

Scarpia 
No! 

Tosca 

<rieec« ad avricinani airaicio) 

Mario ! 

La voce di Cavaradossi 

ToBca! 

Tosca 

Ti f anno male 
ancora ? 

La voce di Cavaradossi 

No - corragio - Taci . Sprezzo 11 dolor, 

Scarpia 

(ayylclnandosi a Tosca) 

Orsu, Tosca, parlate. 

Tosca 

^infrancata dalle parole di CaTaradoflal) 

Non so nulla I 

Scarpia 

Non yale 
la prova^... Ripigliamo... 

Tosca 

(il frappone fra l*iiflclo e ScaTpia> per impedire che dia Tordlne) 

Fermate 1... no... che error I 

Scarpia 
Parlate !... 

Tosca 

No... mostro I 
lo strazi... Puccidi I 

Scarpia 

Lo strazia quel vostro 
silenzio assai piu. 



U ACT U. 

Tosca 
Let me see him!... 

Scarpia 



Nol 



Tosca 



(bf dflgTMi soooeeds in approaching the door, and «zclalina) 

Mario! 

Cavaradossi 

(from within, in pain) 

ToBca! 

Tosca 

Are they hiirtm;^ you still ? 

Cavaradossi 
Noy take courage. Silence! Pain I despise L. 

Scarpia 
\nd now speak out, fair Tosca. 

Tosca 

(flrmlj) 

I know nothing! 

Scarpia 

That test was not sufficient I 
If not, we can repeat it... 

(wallu towards the doorway) 

Tosca 

(interpoeing herself between Scarpia and the door) 

No! you shall not! 

Scarpia 

Will you speak out, then ? 

Tosca 

No! no!... 
Ah I monster, you have hurt him ; you 
demon incarnate, you will kill him!... 

Scarpia 

Tonr obstinate silence 'tis that 
hurts bim worse than I do. OMKha) 



AriX) SBCONDO 



•^mima^ 



Tosca 

Tu ridi... tu ridi 
alPorrida pena ? 

Scarpia 

(con feroce Ironia) 

Mai Tosca alia soena 
piu tragica fu. 

icon rcrmezza a Toaca, goardandola firaa negU occh^> 

Qui pianti e rimbrotti 
sou vani. 



Tosca 

(snppHchevole) 

Merc^ 1 



Scarpia 

Ov'6 PAngelotti ? 
ftispondi, dov'd? 

Tosca 

vcon voce soCFocata) 
Nol 80- 

Scarpia 

La vendetta 
gQ Mario cadnL 

(giida in tono di comando> 

Sciarrone I 

Tosca 

(smarrita) 

No... aspetta... 

(vnol parlare, pmania, reniste anoon^ 

Non posso... 

(a mani giunte) 

PietA... 

Scarpia 

(per flnirla) 

Aprite le porte 
che n'oda i lamenti. 

(Bpoletta apre rnscio e vta litto (tulla ao^lai 



ACT 1^  

Tosca 

You laugh, wretch ... you laugh at hu ang^iflbl 

Scarpia 

(entbasiuUcally) 

More tragical Tosca was ne^er on the stage! 

Ctmen wlthdrmwn from Scarpia, who tama towards Spcletta in a tranaport of ftfrodty 
•zclalmlng loadly) 

Throw open the doors I 
Let her hear him complaining! 

(Spcletta opene ibe door and BtandA etiflly by the thrMhold) 

Cavaradossi 

(from within) 

I defy you!... 

Scarpia 

(to RobertI) 

Harder, still harder! 

Cavaradossi 

I defy you? 

Scarpia 

<to Tosca) 

Speak outy then! 

Tosca 

What shall I say ? 

Scarpia 

Now— quickly I 

Tosca 

Ah I I kno^ UOthing! (desperately) 

Ah! must I telllies'*' 
Scarpia 

(insisting) 

Say, where is Angelotti T 

Tosca 

Nol 

Scarpia 

Say, where la Angelotti ? Speak out you shaHf 
Say, where have you hidden him ? 



» T08CA 

La voce di Cavaradossi 

Vi sfido. 

Scarpia 

(fniperioeo) 

Pit iorW. 

Tosca 
£ troppo martir I 

(pi riyol^e ancora sopplfchevole a Scarpia, il quale fa cenno a Spoletta dl lasciare ar 
vicinare Tosca : qaesta va prwso air uscio aperto ed esterrefaiia alia vista dell^ am 
bile scena, si rivolge a Cavaradoesl col maeeimo dolore:) 

O Mario, consenii 
ch*io parli?... 



La 


voce di Cavaradoss: 




No. 




Tosca 




icon ineiBtenza) 

Ascoita, 


non posse piu... 



La voce di Cavaradossi 

Stolta, 
che sai ?... che paoi dir r... 

Scarpia 

drritatlaalmo per le parole di Cavaradoflsl e temendo che da qaesta Tom*a tia anoora 
Incoragglata a tacere, grida ' ^rrlbile a Spoletta:) 

Ma fatelo taoere !... 

(Spoletta entra nella camera della tortura e n'esce poco dopo, mentre Tovca, viiita daila 
terribile commozionef cade proetrata sal canapd e con voce pInichiozzHiite hi rh oigf» 
a Scarpia che sta impaasibUe e eilenzioBo. Intanto Spoletta brontola pregbiere eot 
tOTOce. 

Tosca 

lo... son io 
che cosi torturate !... Torturate 
Panima... 

(scoppia in Binghiozzi strazianti, roormorando :) 

SI, mi torturate I'anitna ! 

(Scarpia, profittando dfirar-canciameDto di To«ca, va presM) la camera dollatortarafl 
fa cenno dl ricominciare il eapplizio - nu grido orribile bI fa udlre • Toeca si 
41 Bcatto e subito con voce sofFocata dice rapidaaiente a Scarpia:) 

nel pozxo... Del giardino... 



m ACT n. 

 ■■----  ■<' 

Tosca 
Abl do not urge me I Ah! praj have pityt 

Scarpia 

Speak! 
Tarry no longer J Where is he ? 

Tosca 

Ah! torment me no longer! Have mercy, 
I pray, I can no more! (Mario grauu) 

(At a tiicn from Scarpia, SpoleCta allows Toaca to approach the open door ; homM^ 
•Cricken b j what she aaea, she adTancea towards Cayaradoesi and, standing b j the 
door of the tortore-chamber, exclaims distractedly) 

Mario! permit me to tell him! 

Cavaradossi 

(his voice broken by pain) 

No! 

Tosca 

But bear me — I can no more! 

Cavaradossi 

» 

Woman, what know'st thou f What canst thou say ? 

Scarpia 

Onfnrlated by C^Taradosai^s otteranoes, and fearing that they may enconrage Toeca to 
keep silence, ezdaims alond to Spoletta) 

Compel him to be silent! 

(Spdetin enters the tortare-chamberf from which he promptly em e rges, while Tosca, 
overcome by emotion, falls back on the sofa, and appeals in a tremnlons voice to 
Scarpia, who stands by impassively and silently) 

Tosca 
Have I ever done you wrong ? 
It is I whom you torture thus basely, whom you 
torture cruelly, yes, cruelly, cruelly torture! 

(bareta into convulsive sobs) 

iqpoletta . kneelinff mnttnn a Latin prayer. Scarpia, profiting by Toeca's prostration, 
goes op to tha door of the tortore-chamber and signals Roberil to recommence 
operations. Cavaradossi utters a strident and prolonged cry of pain, whereupon 
Tosca ri»es from the sofa, and in a stifled voice says hurriedly to Scarpia) 

The well ... in the jirarden... 



ATTO SECONDO 87 



Scarpia 
lA h I'Angelotti ? 

Tosca 

St.. 

Scarpia 

(torte, verao la camera della tortoim) 

Basta, RobertL 

Scarpia * 

(che ha aperto roecio) E SYenutO I 

Tosca 

(a Scarpia) AssassinO !.,. 

Voglio vederlo... 

Scarpia 
Portatelo qni. 

(Sdarrone rlentra e sabito appare Cavaradoesi svenato, portato 'ial blrrl che lo depoib 
gono Bill canapd. Tosca corre a Ini, ma Porrorc della vieta dciramante insangoinau) 
d eori forte, ch'eesa sgomentau ei copre il volto per non v*>Jerlo-poi, vergognosa 
dl qaesta sua debolesza, si inginocchia presto dl lui, baci>.ndolo e piangendo. - Sc'ar- 
rone, 11 Gindlce, Roberti, lo Scrivano escoDo dal foodo, menire, ad un cenr o d' 
Scarpia, Spoletta ed i birri si fermano) 

Cavaradossi 

(riavendoB 

* Fiona I... 

Tosca 

(coprendolo dl bacl) 

Amore... 

Cavaradossi 
Sei tu ?... 

Tosca 

Qiianto hai penato 
anima mia I Ma il soxzo 
birro la pagher^ ! 

Cavaradossi 

Tosoa, ho parlatof 

Tosca 
Ko, amor... 

Cavaradossi 

Davver ?... 



ACT n. m 

Scarpia 

There is Angelotti ? 

Tosca 

(choking) 

Yes I 
Scarpia 

(loodlj, towards the tortare-chamber) 

That will do, Roberti. 

SciaiTone 

(appearing at the door) 

He has fainted I... 

Tosca 

Vile assassin! Now let me see him... 

Scarpia 

Quick, carry him hither ! 

CaTaradoNHl, in a swoon, ia carried in and depoaited on the aofa. Toacamahea towarda 
him, but ia horror-stricken when shcseea him bleeding, and standa still, covering her 
eyes with her lianda. Then, ashamed of her weakness, she kneels down by Oarara- 
dOi«si, Uvlshini^ kisses and tears upon him. Sciarrone, ihe Jadge, Roberti, and the 
Clerk exeunt (7.; Spo^etta and the agents remain b« hind. In obedience to aalgn 
made by Scarpia) 

Cavaradossi 

Floria !... 

Tosca 
Beloved... 

Cavaradossi 

*Ti3 shv> I 

Tosca 

How thou hast suffered, heart of my heart. 
But the brutal tyrant shall suffer tool 

Cavaradossi 

Tosca, did I saj aught ? 

Tosca 

No, my love... 

Cavaradossi 

Really I... 

Tosca 

No! 



li T08CA 

Scarpia 

(forte, a Spoletta) 

Nel pozzo 
del giardin. ~ Ya, Spoletta. 

(Spoletta eaoe: Cavt»do88i, cbe ha udito, ri leva mlnacdoao contro Toaca; poi le forae 
rabbandonano e •! laacla cadere ml canapd, eaclamando con rlmprovero pteno c 
imarezsa veno Toeca;) 

Cavaradossi 
Ahl m'hai traditol... 

Tosca 

(sapplichevole) 

Mario! 
Cavaradossi 

iiesplngendo Toeca che si abbraccia etretta a lal) 

Maledettal 

(Sciarrooe, a an tratto, irrompe tatto afbnnoao) 

Sciarrone 

£oceleDza... ah, qaali nuovel... 

Scarpia 

(eorpreeo) 

Che vaol dir quell'aria afflitta ? 

Sciarrone 
Uu messaggio di sconfitta... 

Scarpia 
Qnal sconfitta ? Come ? Dove f 



A Marengo... 



Sciarrone 



Scarpia 

(fmpasiente) 

Tartamgal 



Sciarrone 

Bonaparte ^ vinoitor... 



ACT n. 



Scarpia 

Goodly and aathoritatlvely to Spolecta) 

In the well of the gardeii---Goy Spoletlal 

(Exit SpoletU) 

Cavaradossi 

(rlaes threatenlDgly) 

Thoa hast betrayed mel 

(fallB backwards, nyeroonw) 

Tosca 

(embraciOK him paadoiiatBljr) 

Mario! 
Cavaradossi 

(trying to paeh her awaj) 

Be accursed! 

Tosca 

Mario* 

(enter Sciarrone, much pertarbe^ 

Sciarrone 

Excellency, dreadful tidings !... 

Scarpia 

(snrpriaed) 

Whac has happened f Tell me quickly I 

Sciarrone 
The Royal troops have been defeated*.. 

Scarpia 
How defeated ? When ? Where ? 

Sciarrone 

At Marengo... 

Scarpia 

(Impatiently) 

Wretched dullard 1 

Sciarrone 

Bonaparte won the day!... 



ATTO 8BC0ND0 



MelasI 



Scarpia 



Sciarrone 



No. Melas d in fuga!... 

ICarvaradoesi, che con anaia creacente ha adito le parole dl Sciarrone, trova nel proprio 
entofliaamo la forsa di alzarsi minaccioso In faccia a Scarpia) 

Cavaradossi 

Ah 6*b on Dio yendicato'rl 
Ualba vindice appar 
che fa gli empi tremarl 
Libertil sorge croUano 
tirannidil 
Del sofferto martir 
me yedrai qui giDir,,, 
il tao cuor trema, o livido 
carnefice 1 

fToaca, dlsperatamente aggrappandosl a CararadoMi, tenta, con parole interrotte, (Is 
farlotacere, mentre Scarpia risponde a Cavaradossi con saxcastico sorriso:) 

Scarpia 

Braveggia, urlal - I'affretta 
a palesarmi il fondo 
delPalma rial 
Va! - Moribondo, 
il capestro t'aspetta! 

(ed irritato per le parole di Cavaradossi, grida agli ablrri:) 

Portateraelo via! 

(BeUrrone e gli ablrri aMmpoeaeaaano dl Cavaradoa*!, e lo traacinano verao la portam 
Toaca con un anpremo aforzo tenta di tencrai atretta a Cavaradoaai, ma invano: 
d bmtalmente reapinta) 



Tosca 

Mario., eon te... 

(gli ablrri oondncono yiaCavaradoaei; li aegaono Spoletta e Sciarrone: Toaca al awenta 
per r^^ir Cavaradoeai, ma Scarpia af colloca Innanzi la porta e la chlnde, reaj^* 
gendo Toaca) 

Scarpia 

Voi no! 



MelasI 



«•• 



ACT n. 
Soarpia 

Sciarrone 
No! Melas w as rooted! 

fWith ever-increasiQK anxiety Cayaradoflsl has listened to SciarroDe^B announcemi 
and in his ezalti^on finds strength to arise and confront Scarpla menacln^y) 

Cavaradossi 

(enthoaiaitlcally) 

Victory 1 Victory 1 
Thou spirit of vengeancey ayake! 
Let tyrants and myrmidons quake! 
Freedom, brandish thy glaive and 
strike down thy enemies ! 

Tosca 

(In despair, endeavoaring to qoiet Cayaradoesi) 

Mario t Silence, in pity to me ! 

Cavaradossi i/ 

Raise thy clarion voice I 
Bid a sad world rejoice I 
Tremble, Scarpia, 4hou bnt cherlv hypocrite 1 

Scarpia 

(staring cTnically at Cavarado<isi and smilins: pamastically) 

Brava<]o ! Boaster ! I hate thee ! 
Thy carcase soon shall swing, 
a senseless lump of clay! Away, 
doomed traitor, the hangman awaits thee! 
Now carry him away 1 

tHciarrone and the agents seise Cavaradossi, and drag him towards the door] 

Tosca 

(resisting with all her strength) 

Mario, with thee I... 

Scarpia 

Go, dying traitor, go! 

Tosca 

(clinging to Mario, and bmtally thmst back by the agentfl!) 

Mario! with thee!... 

(endeavonrs to force her way past Scarpia) 

Scarpia 

(poshing her back and closing the door) 

Not you ) 






« T06CA 

TOBCA - SCABPIA. 

Tosca 

(oon nn gemito) 

Salvatelol 

Scarpia 
lo?... Voil 

(d arriciiia alia tavola, rede U ina oena laadata a mesao e rltoma ealmo • ■otridentBi 

La povera mia cena fa interrotta. 

(▼edendo Toica abbattnta, immobile, ancora preno la porta) 

Coal accasciataf... Via, bella signora 
8edet,e qui. — Yolete che cerohiamo 
insieme, Tosca, il modo di salvarlo ? 

ToMa si scaote e lo piaxda: Scarpia sorride sempre e ei aiede, acoemumdo In part 
tempo di eedere a Toica) 

E allor sedete... e favelliamo... £ iDtanto 
on sorso. K vin di Spagna... 

(riempie U bicchiere e lo porge a Tosca) 

Tin sorso 
per rincorarvi. 

Tosca 

flMasdo Mmpre Scarpia si avviclDa Icntamente alia tavola, siede rlsolata dl fRaqta t 
Scsipla, poi ooiraocento del piii profondo dipresso gli chlede:) 

Qoanto? 
Scarpia 

(Impertmteblle, Tersandoel da bere) 

Qaantof... (rUe) 
Tosca 

n prezsol.- 

Scarpia 
Qik, - Mi dioon yenal, ma a donna bella 
io non mi vendo a prezzo di moneta. 
Se la giurata fede 

devo tradir, ne voglio altra mercede. 
Qaest'ora io Pattendea. 
Oi& mi stmggea 
I'amore della dival... 
Ma poc'anzi la donna - io la mirai 
qnal non la vidi mai 
all'ira, a1 pianto ed alPamor pih viva!. 



k»«a 






^ 



m ACT IL 

Tosca 

(gasping) 

I conjure yon, save him I 

Scarpia 
I? — Youl 

(APuroocheB the table, as though to resame sapping, bat tarns back, calm and Bmiling) 

My poor little supper was interrupted. 

(seeing Tosca downcast and motionless, still near the door) 

AVhy thus disheartened?... Come, 

sweet sorrow-stricken lady, be seated here. 

Devise with me some plan whereby 

we may contrive to save him, 

and then ... be seated... 

(sits down, motioning to Tosca to do the like) 

* we'll talk it over. 

(polishes a wineglass with Us napkin, and fills it with wine) 

Meanwhile, this cordial... 'tis wine of Spain... 
pray taste it, 'twill raise your spirits. 

Tosca 

(Beats herself opposite Scarpia, looking at him steadfastly, leaning her elbows on tbt 
table and shading her face. Contemptnously she asks him :) 

How much ? 

Scarpia 

(impertarably, filling his glass) 

How much ? 

Tosca 
Your price, man ?... 

Scarpia 

Gaoghs) 

Yenal, my enemies call me, but to ladies fair 
1 do not sell myself for paltry sums of money. < 
No ! if my plighted fealty I must betray 
(emphatically) FU choose some Other paymejit. 
This hour I've loni/ awaited !... 



ATTO SECONDO 



Quel tuo pianto era lava 

infocata a' iniei seusi - ed 11 tuo sguardo^ 

che odio in me dardeggiava, 

le selvaggie mie brame inferocia!... 

Agil qual leopardo 

ti avvinghiftsti all'amante - in quelPistante 

io t'ho giurata mia!... 

Mia!... ruggenfce di collera e d'orgogliol... 

A mo!... Ti vogliol 

>f leva, atendendo lu braccia vereo Tosca: qoeeta, cbe aveva asooltato ioimoblle, lay 
pietrita, le Ut<cive parole di Scarpia, 8*al2a di scat to e ai rifagia dietro il canapd) 

Tosca 
Tu?... 

Scarpia 
Si, e t'avrdl 

Tosca 

(correndo alia flnestra) 

Ptia gid mi awentol 
Scarpia 

(freddamente) 

Id pegno 
il tao Mario mi resta!... 

Tosca 

L'orribile mercato!... 

(per SQblta idea) 

Ah! - la reginal... 
Scarpia 

(ironico) 

Non ti trattengo, - Va, - Libera sei. 
Ma d fallace speranza: la Regina 
farebbc solo grazia ad un cadavere! 

retrooede apaventata, e fiseando Scarpia ei laacia cadere sal canapd ; poi 
(U ocdii da Scarpia ooa un gesto di sapremo diagusto e di odio) 

Come tu m'odii! 

Tosca 

Ah! Diol... 

Scarpia 

(avviciiiandosele) 

Cos! ti voglio I 



J 



(excitedly) 

Goddess of song, you have scorned me and braved nie. 
Twas your beauty that made me love y ou, 'tis^your hatred 

tha t has e n slaved m e ; 
WTien I saw your cheeks bedewed with tears of ctinsterna- 

tion, 
Shed by lustrous eyes that fiercely sparkled with scorn and 

detestation, 
WTien you clung to your lover like an amorous tigress, 
Ah 1 'twas at that hour I vowed thou shouhlst be mine. 

Se approaches Toeca with open ariiM : she, who nnf il now )md listened to him with<mt 
stirriue, rises suddenly, horrified by his aadacioas proposalct, and rushes bchiud the 
sofa. She scrouns.) 

Scarpia 

(following her) 

Mine, wholly mine ! 

Tosca 

(terrified, rashea to tha wiudow and clings to It) 

No ! far rather w-ill I kill myself I 

Scarpia 

(coldly) 

Your Mario's life FU hold in pawn for yours ! 

Tosca 

Think you that I will contract so hideous a bargain ? 

(the idea of appealing to the Queen occars 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 
gesture) 

but your hope is fallacious . . . 

It weru vain to ask our gracious Queen 

to pardon a dead man I 

(Tosca tumi* back terror-:«tricken and, s'aring at Sc«rpiti, resumes her seat on the sofa ; 
then loruit hi^r eyes away with a look of tsuprerae disgust and hatred) 

How you detest me ! 

Tosca 

(with loathing and contempt) 

Idol 

Scarpia 

(approaching her) 

'Tifl thus, 'tip thus I love you I 



1 



« TOSCA 

Tosca 

(con ribrezzo) 

Non toci*anni - deinonio - t'odio^ I'odio, 
abbietto, vile I 

(fi^ge da Scarpla Inonldlta) 

Scarpia 

Che unpoiija? Sei mia... 
Spa^mi d'ira e spasimi d'amore I 

Tosca 

Vile ! 1 

Scarpia 

Mia 1 ! (cerca dl afferrarla) 

Tosca 

Vile I (0i ripara dietTO la tavola) 

Scarpia 

(inBegnendola) 

Mia... 

Vosca 

No - aiuto I 

(an lontano rnllo dl Umbori a poco a poco Bi avvlcina poi si dilegna lontano) 

Scarpia 

(fermandofli) 

L'odi? 
E il tamburo. S'avvia. Guida I:i scorta 
ultima ai condannati. II tempo passa ! 

(Toaca, dopo aver aacoltato con ansla terribile, si allontana dalla flnestra e ai amiogglai 
eetenuata, al canape) 

Sai quale oscura opra laggill si compia? 
L& si drizza un patibolo. Al tuo Maiio, 
per tuo voler, resta minora di vita. 

(freddamenta si appoggia ad an ancolo della tavoia continaando a j^iardare Toaca) 



ACT li. 



Tosca 

(exasperated) 

Do not touch me, you demon ! 

I hate you, you coward, you villain ! 



Scarpia 

(approach Ing heratill nearer) 

What matter ? Hatred like yours 
and loye are kindred passions I 



Tosca 
Villain I 

(ahrinkiog behind Uie UUa^ 



Scarpia 

(panning her) 

Mine? 



Tosca 
Help I 

(both are stayed by the tonnd of distant dmrns) 



Scarpia 

tdsten 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 lo window) they have 

raised up a gallows-tree. 

Trt0ca (tbadders in terror nnd despair. Scarpia approaches hei) 

Tis your will, then, th:it your fond lover 
sht>uld die in another hrief hour? 

(Broken down by gru>f. Tosca falls buck • u the Bi»fa. Scarpia leans against a comer of 
lb« table, poors oat coffee, and driuks it, with bis eyes fixed iipoo T<isca> 



ATTO SECONDO 



Tosca 

(nel masslmo dolore) 

Vissi d'arte e d'amor, non feci ma 

male ad anima viva I 

Con man furtiva 

quante pcne conobbi, alleviaL 

Sempre con f^ sincera 

la mia preghiera 

ai santi tabernacoli sail. 

Diedi fiori agli altar, diedi gioielli 

della Madonna al man to, 

e diedi il canto 

agli astii, al ciel, cbe ne rideai: pill beilL 

^elPora del dolore 

perch^, Sigiiore, 

perchd me ne rimuneri cosi ? 

Scarpia 

k(avvicliiando9i di niiovo a Toeca) 

Risolvi? 

Tosca 
Nol 

Scarpia 
Bada... il tempo ^ veloce I 

Tosca 

Mi vuoi supplice a tuoi piedi ? 

(iaginocchiandoBi inaanzl a Scarpia) 

Ecco - vedi - 

le man giunte io stcndo a te ^ 

E merc(^, 

umiliata e vinta, aspetto 

d'un tuo detto. 

Scarpia 

Sei troppo bella, Tosca, e troppo amante. 

Cedo. - A misero prezzo 

tu, a me una viti, io, a te chieggo an iBtante I 



ACT n. u 

Tosca 

(moamfiUly) 

Lov e and musi c, the se have I l ived for, 

nor ever have harmed a living being... 

The poor and distressful, times without nun* er, 

by steal h, 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 bittpr 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 tribuiation, 

why, Heavenly Father, why hast Thou forsaken me ? 



Scarpia 



TV hat say you? 



Tosca 

(reeolntely) 

No I 

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 1 Grant m}'- entreaty ! 

Let me not implore you vainly ! (desperately, yet hambly 

Scarpia 

Too lovely art thou, Tosca, and too enchanting 
to be resisted. I ha^re the worst of the bar^in ; 
a life 1 barter against a minute of thy favour ' 



TOSCA 

Tosca 

(abtandofll, con eenso di gran dlapreuo) 

Va - va - mi fai ribrezzol 

(boasano alia porta) 

Scarpia 
ChUli? 

Spoletta 

(ertrando trafelato) 

Eccellenza, FAngelotti al nostro 
gionger-si uccise. 

Scarpia 

Ebbene lo si appenda 
morto alln f orche. £ I'altro prigioniero ? 

Spoletta 

11 cavalier Cavaradossi ? £1 tutto 
proDto, eccellenza. 

Tosca 
(Diol m'assisti!...) 

Scarpia 

(a Spoletta) 

A8pett4l. 
(aToaca) 

Ebbene ? 

I'.toacM aocenna di A ool capo e dalla vergogoa plangendo 0I nasoonde II tIm) 

(a Spoletta) 

OdL.. 

Tosca 

(InterTompendo, sabito a Scarpia) 

Ma libero all'istante 
^o voglio... 

Scarpia 

(aToeca) 

Occorre simular. Non posso 
far grazia aperta. Bisogna che tutti 
abbian per morto il cavalier. 

(accenna a SpolctU) QueSt'uomO 

6do prowedera 






ft ACTIL 

Tosca 
60 1 . 

(riling ■oomfnlly) 

Yon make me shudder ! Gk> ! 

(a knock at the door) 

Scarpia 
Wlio*B there ? 

(enter Spoletta In haste and mach a^citated) 

Spolett'a 

Excellency, Anpel otti Bwallo^^H pniao n 
w hen ve at'iy^ftd hiip- 

Scarpia 

'Tis well t 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 t 

Scarpia 

(to Spoletta) 

A moment... 

(to Toeca, softly) 

What say you ? 

(She nods consentlni^y ; then, weeping for very shame, she bnrles her head 1b the sc^f s 
coshions) 

Scarpia 

(to Spoletta) 

Hearken... 
Tosca 

(intermpting) • 

But he must be set free on the instant I 

Scarpia 
I fear that may not be. I dare not simply release him. 
It must be believed by everyone here that he is dead, 
(^intstose^e^) This w orthy fel low will arrangflj>lL>. 



ATTO SKCONDO 



Tosca 

' Chi mi assicura? 

Scarpia 

L*ordin che gli dard voi qui presente. 

(a Spolctla) 

Spoletta: chiudi. 

(Spoletta chiade la poFta, poi rltorna presso 8carpia) 

Ho mutato d'avviso. 
n prigionier sia fucilato... 

(Tosca 8catta atterrita) 

attendL.. 

{flua con iDtenzione 8poIetta che aocenna replicatamente col capo dl Indovinare II peii 
Biero dl Scarpia) 

Come faoeramo del conte PalmierL 

Spoletta 
Un'uccisione... 

Scarpia 

(snblto con marcata Intenzione) 

...simulata!... Come 
awenne delPalmieri!... Hai ben compresoV 

Spoletta 

H.O ben compreso. 

Scarpia 
Va 

Tosca 

Voglio awertirlo 



lo stessa. 



Scarpia 
E»ia. 
(a Spoletta) Le darai passo. Bada: 
all'ora qaarta. 

3poletta 

SI. Come Palmieri. 

QBpoletta paite. Scarpia, ritu presso la porta, aecolta Spoletta allontauani, poi 
mato uel vlau e nel geiitl ei avvtcisa con grande paraione a Tosca) 



ACT II 41 

Tosca 

Can he be trusted f 

Scarpia 

Trust the orders I shall give him, 

here, in your presence. 

(taming to Hpoietta) Spoletta I shut thai door. 

(Spnietta hatftene to obey, and then retiiras to Scarpia, who looks fixedly at him 
spoletta repeati dly indicaiing by nods that he aQderetalld^i hU ina«ter*B meaniDg) 

I have altered my purpose. Cavaradossi 

will be shot ... pay attention ... 

just as we did in the case of Palmieri.... 

Spoletta 

An execution... 

Scarpia 

(emphatically) 

Simulated ! ... As we did in the case of Palmieri ! 
Dost understand me ? 

Spoletta 

I understand you. 

Scarpia 

Go I 

Tosca 

(who has listened eagerly, iuterrnpting) 

And I in person will warn him. 

Scarpia 

Be it so. 

(to Spoletta, pointing at Tosca) 

You will admit her. 

Remember : (emphatically) at four o'o 

Spoletta 

(emphatically) 

Yes. Just like Palmieri... 

disli spoletta. Scarpia, standing by the door, litttene to Spoletta^a retreating steps. 
Then, changing hiH manner and uzpression, he ium*i pasaiona'ely lo Toeca) 



TOSOA 

Scarpia 

lo tenni la promessa... 

Tosca 

(arrestandolo) 

Non ancora. 
Yoglio nn salvacondotto onde fuggire 
dallo Stato con ltd. 

Scarpia 

(con galanterla) 

Partir volete ? 



Tosca 



SI9 per semprel 



Scarpia 

Si adcmpia il voler vostro. 

(T» alio tcrittoio: ei mette • scrivere, Interrompendofli por domandare a Totca:) 

Qual via Bcegliete ? 

jMentN Scarpia BcriTe, ToBca si d avricinata alia taTola e oolla maxio tremante prende 
11 bicchleri di vino di Spagna Yeraato da Scarpia; ma nel poitare 11 bicchlere alle 
labbra, aconre, snlla tavolanncoltello aflUato ecf a pacta; da ana rapida occhiaU a 
Scarpia che in qael momento d occapato a acrivere - e con inflnite precansioni 
cerca dl impossessarBi del coltdlo, riapondendo alle domar.«ie di Scarpia ch^eeaa 
eorveglia atientamente) 

Tosca 

La pid brev^ 

Scarpia 

Dunqae 
Civitaveccbia. 

(Bcrivendo) 

Sta bene ? 

Tosca 

Sta bene. 

IFloalmente ha potato prendere 11 coltello, che diaaimala dietro dl d appoglandosl alia 
tavoU e sempre survc^liando Scarpia. Qaestl ha linito dl ecrivere 11 saTvacondotto, 
vi mette il sifflllo, riptega il foglio: qalndi aprendo le bracda ei avTlcina a Toaoa 
per avyincerla a ed) 

Scarpia 

Ed ora, Tosca, finalmente mia I... 

'ma Taccento Yolattaoeo si cambia in an grido terriblle,- Toeca lo ha oolpito In 
petto) 

Scarpia 
MaledettaM 



Tosca 
ijuesto 6 il bacio di Tobi.» 



^ ACT n. 

Scarpia 
I have fulfilled my promise. 

Tosca 

Not entirely. I must have a safe-oonduct 
enabling me to quit the country with him. 

Scarpia 

(politely remoDBtratliig) 

Tou really mean to leave us ? 

Tosca 

(poftltfYoly) 

Yes, for ever I 

Scarpia 
It shall be as you desire. 

(goes to the desk and begins to write; brealcs otf in order to aslc Tosca:) 

By which road will you travel ? 

Tosca 

By the shortest ! 

Scarpia 
Civitavecchia ? 

Tosca 
Yes. 

(while Scarpia is wiitini:, Tosca approaches the table and, with a trembling hand, lakee 
up the gIttM filled with wine for her by Scarpia; and as she raises it to her lips, 
perceWeH a t'hfu-p-pointed knife lying on the table-cloth. She casta a rapid glance 
at Scarpia, ttfll o< copied at the denk, and with infinite caution takes possession of 
th** knife wrich >he hides behind her, leaning on the table and carefnily watching 
Scarpia, who, having finished writiug the safe conduct, folds It up, ana advances 
towards Tosca with open arms, intending to embrace her) 

Scarpia 
Tosca, at last thou art mine !... 

otters 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 I 

Scarpia 

(hoarsely) 

Help me ! Fm dying ! 

<atrives to lay hold of Tosca^s dress; she draws back horror-strlekeo^ 
Help! 



ATTO SBCONDO «/ 



Scarpia stende il braccio verso Toeca awidnandosele barcollante in atto dl alato. 
Toscca lo »rugge - inaad un tratto ella Bi trova prera fr» Scarpia e la tavola e 
vedendo che eta per e«»'ere toccata da Scarpia, lo aesplnge inorridlta. Scarpla cade, 
arlando col la voce eaff ocata dal Bangoe:) 

Scarpia 

Aiuto... aiuto... muoio... 

Tosca 

tUnando Scarplache si dibatte inntilmente e cerca di rlalzarsi, aggrappandosl al canip^ 

E ucciso da una donna... - M'hai tu assai 
torturato ? 1 Su ! - Parlal - Odi tu ancora ?„. 
Guardami!... Son la Tosca! Son la Dival... 
Son Tosca, o Scarpia! 

Scarpia 

(fa an ultimo sforzo, poi cade riyerao) 

Soccorso!.., 

Tosca 

(chlnnndoei yereo Scarpia) 

Ti soffoca 
ilsangue?... iltiangue?... Muori! muorill muorill! 

(vedendolo Immobile) 

Ah! d mortol... Or gli perdono!.,. 
E avanti a liii treraava tatta Roma! 



•Seiiza abhandonare cogll occhi 11 cadavere. Toeca va alia tavola, vt depone !I coltello, 
prvnde una bottiglia (racqua, inzuppa nn tovag liolo e el lava le dita: pol va alio 
r>p< cchio e »\ ravvia i rapelii. Qniudl cerca 11 pahacondotto eullo ecri'ioio: not* tro- 
vHndolo, 81 volge e lo t>corg« nella inano ragCTinzala del mono: ne togiie il foglin e 
lo na!*cc>iidc in petto. Spi-ine il candelabro euil% tavola c va per Ufcire^ ma el pentee 
vedendo accefa nna cli-ile caiidele huIIo wiritttoio, va a preuderla, acrende raltra. e 
colloca una candela a dci«tra e Paltra a einlrtra della testa di Scarpia. Alzandnol. 
cerca di ni:ovo intonio e KcoRreiido un crocifii»M> va a etaccarlo dalla parete e portan- 
dolo rcligiooame*-t«' »'ingini>crhiri pen i>08arlo enl p»tto di Scarpia - pol si altt 
€ COD graudc precaazioutf eece rlncDludendo dietro a ed la porta). 



I 



ACT II. «r 

(Toflca, between Scorpia and the table, and fearing that he will lay hold of ber, throsts 
him roagUjr from her. He falls, groaning and well nigh choked by blood) 

Ah! 

Tosca 

(pitilessly) 

Are you stifling with blood ? 

Scarpia 

Help me I 

(straggles Ineffectnally to rise, clutching at the sofa) 

Fm dying ! 

Tosca 

And done to death by a woman ! 
Say, wbat mercy didst thou show me ? 
Canst thou still bear mc ? 

(Scarpia makes a Anal effort, and falls backwards) 

Answer ! Look at me I Scarpia, I am Tosca ! I 
Your victims' blood chokes you ! 

(bending over Scarpla's face) 

Die, thou accurst one ! Perish I 

Scarpia 

(all bat voiceless) 

Ah! 

(expires) 

Tosca 

He is dead ! Now I forgive him I 

Cwithoat taking her eyes off Scarpia's corpse, sbe goes to the table, dips a napkin !*> 
the water-)ag, and washes her fingers; then arranges her hair before the looking 
glass. Remembering the safe-conduct, she lookt* for it on the desk, Mid not flnri ing It. 
searchcK elsewhere. At last she perceives it, clutc ied in the clenched flngerei of 
Scarpia, an'l lifts np his arm, which she lets fail, stiff and stark, when she has 
posseHsed herself of the safe-condact, which she hides in her bosom. She then 
constrains herself to contemplate Scarpia^s dead body; she extingoishes the lights 
OB the sapper-table, and is abont to leave when, seeing one of the candles on the 
desk still Duming, 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 Scarpi I's head, and the other to the left; again looks 
roand her, and seeing a craciflx banging on the wall, takes it down and, kneeling, 
places it reverently on the breast of the corpse. Roll of distant drams. Mid slow 
curtain. Tosca rises and departs cautioasly, closing the door aller her) 






 



t«a;:;aa!i;A;a:WiWrt:itf^^ 



ATTO TERZO 



La piattaforma di Castel Sant'Angelo. 

A. sinistra, una casamatta : vi d coUocata una tavola, sulla quale staimo 
una lampada, un grosso registro e roccorrente per scriyere : una 
panca, una sedia. Su di una parete della casamatta un crociftsso : 
davanti a questo ^ appesa una lampada. A destra» Tapertura di una 
piccola scala per la quale si ascende alia piattafonna 

Nel fondo il Yaticano e S. Pieiro. 

!fe ancora notte : a poco a poco la luce incerta e grigia che precede I 'Uba ; 
le campane delle <'hiese suonano mattuttixio. La voce d'un paHtore 
che guida un armento. 

(T7n Carceriere con nna lanlerxiA sale dalla acala, Ta alia casamaUa e tI accende U 
lampada sospesa davanti al crocifiaao, pol qaella BuUa taTola : aiede ed aapetta meszc 
aasonnato. Pi^ tardi nn plochetto, comandato da on Sergente die gnardia, sale salla 
piattaforma accompagnando Cavaradosal : il plochetto ei aneeta ed il Sergente con- 
dnce CavaradoBsi nella casamatta, consegnando nn f ogUo al Carceriere. - 11 Caroerier* 
eaamlna il foglio, apre il regietro e yI acrive mentre interroga). 

Il Oabceribbe - Cavabadossi - Un Ssbgentb - Soldatl 

Carceriere 

Mario Cavaradossi? 

CaTaradoBBi china 11 capo, aaaentendo. II Carceriere porge la penna al Sergente) 

A voi. 

(il Sergente firma il registro, poi parte coi soldati, scendendo per la scala) 

(a Cavaradossi) Yi resta 

un'ora. Un sacerdote 1 vostri cenni 
attende. 



.xccKtxrxMtxoxW///x^xciwxM:^ 



ACT III. 



Scene: A Platform of Castle Sant. Angelo. 

L. — A casemate, furnished with a table (on which stand a lantern, a 
huge register book, and writing materials), a betxh and a stool. 
Suspended to one of the walls, a crucifix and yotive lamp. R. — A 
trap door opening on a flight of steps leading to the platform from 
below. The Vatican and St. Peter's are depicted on the back 
cloth. Night time. Clear skj, f>tudded with stars. Sheep bells 
jangle afar off, then gradually nearer and nearer. 



A Shepherd 

(in the dietuice) 

Day now is breaking, 

The weary world awaking... 

(the belle, Btill more distant, tinlde irregularly) 

Lending new sorrow 

And sadness to the morrow. 

(the tinkling of the sheep l>olls dies awa/ gradually) 

If you could prize me, 

To live I might try, 
But if you despise me, 

I may as well die ! 

(a dim, grey light heralds the approach of dawn) 

(Afar off, the charch bells begin ringios f >r matins. Enter^aller, bearinjg a lantern. He 
I emerges from ihe trap door, enters ue casemate, and lights, fimt the lamp suspended 

' bcn«-aih tue cmciflx, and tben the lantern (Standing on the table. Advancing to the 

parapet of i he platform he leans over it and looks down into the conn vani to s«-e if 
the tiring party, told off to escort the condemned man. has arrived. Meeting a 
sentry, \vho is on guard within ihe precincts of the platform, and having exchanged a 
few words with him, the jailer relume to the casemate,where he sits down and wait«, 
liair a<ilt'e I. An Infantry picket; commmded by a sergeant, and in charge of Cava- 
rado8}«i, ascends to the platform. The men are halted, and the sergeant condacts 
Cavaradossi to the casemate, which Ca aradosei enters. The jailer, seeing the 
sergeant, rines and salutes, wbereupon the sergeant hands him a paper, whicn the 
jailer examines. Then, seating himself at th^ table, the jailer opens the register 
book and writes in it while interrogating Cavaradossl) 

Jailer 
Mario Cavaradossi ? 

(CavaradoBsi uods affirmatively) 

Please sign. 

tto the sergeant, handing him the pen. The sergeant si^s the register-book and 
desfDds the stvpi*, followed by the picket. Bell) 

You have an hour ... 

(to Cavaradossi) 

A holy father is nigh, at your disposal ... 



ATTO TEBZO 



Cavaradossi 

No. Ma di an'altima grazia 



vi richiedo. 

Carceriere 

Se posBo... 

Cavaradossi 

To lascio al mondo 
una persona cara. Consentite 
ch'io le scnva un sol motto. 

(togliondosl dal dito un anello) Unico restO 

di mia ricchezza ^ questo 
anel... Se promettete 
di consegnarle il mio 
ultimo addio, 
esso ^ vostro... 

Carceriere 

titnba on poco, poi accetta e facendo cenno a CavaradoMi dl eedere alia tavola, ya t 
eedere sulla panca) 

Scrivete. 
Cavaradossi 

ObI mettc a scrivere... ma dopo tracciate alcane linee 6 inva^o dalle ritnembranxe) 

E lucevan le stelle ed olozzava 

la terra - e stridea I'uscio 

dell'orto - e un passo sfiorava la rena. 

Entrava el la, fragranto, 

mi cadea fra le braccia emi narrava 

di sd ; di me chiedea 

con volubile impero. 

Oh 1 dolci baci, o languide carezze, 

mentr'io fremente 

le belle forme disciogliea dai veli I 

Svani per sempre il bel sogno d'amore... 

L'ora 6 fuggita 

e muoio disperato !... 

E non ho amato mai tanto la vita 1 

(scoppia in eingbiozzi). 



i 



i 



ACT ni. 40 



Cavaradossi 
No. But let me entreat you to do me a favour 



Jailer 
If possible ... 

Cavaradossi 
I leave behind me one whom I cheiish 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 hie finger) 

If you will pledge your word to convey 
my last farewell to her safely, it is yours... 

Jailer 

^aftcr a lllUe hesitation^ accepts the ring, and signals Cavaradossi to l>e seated at the 
table) 

Write your letter. 

\bU» down on the bench. Cavarado.-si 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) ^ "^ "^ cwwes 

Cavaradossi 

(thinking aioad) 

When the stars were brightly shining 
And faint peif umes the air pervaded, 

Creaked the gate of the garden, 
And a footstep its precincts invaded, 

'Twas her>, the fragrant creature, 

In her soft arms she clasped me 

Witli sweetest kisses, tenderest caresses, 

A thing of beauty, of matchless symmetry in form 
smil feature I 

x\iy dream of love is now dispelled for ever- 

I Viyf^t] nn^ftring 

Andjiow T dip .dfijSjiairing I 
Yet^ne^ was life so dear to me, no, never ' 



ii 



n 



» TOSCA 

(Dalla icaUi Tleoe Spoletta aocompagoato dal Sergento e segnito da Toeca : 11 Sergenie 
porta ana lantema - Spoletta acceona a Tosca ore troyaal CavaradoMl, pol chlama 
a sd U Carceriere : con qoMti« col Sergente ridlscende, non iensa aTcre prima dato 
ad ima aentinella, che sta in fondo, Tordlne di sorvegliare 11 prlgioniero). 

ToscA - Cayabadossi. 

Toeca vede CayaradosBl piangente, colla teaCa fra le man! : gll el aTTicina e gli soUeve 
colie dae niani la testa. Cavaradossi balca in pledl sorpreeo. Tosca gll presenta oon- 
Tolsaan fogUo, non potendo parlare per remoaione). 

Cavaradossi 

(legge) 

- Iranchigia a Floria Tosca»., 
Tosca 

(ieggendo insieme con lui con voce ajfannfma e convnlsa) 

e al cavcUiere 
ehe V (iccompagna, - 

(a Cavaradossi con an grido d^esnltanaw) 

Sei libero ! 

Cavaradossi 

(goarda 11 foglio ; ne legge la flrma) 

Scarpia !... 
Scarpia benigno ? A qaal prezzo? la prima 
sua grazia ^ questa... 

Tosca 

E Taltima ! 

(riprende 11 salvacondotto e lo rlpone in ona borsa) 

Cavaradossi 

Che dici ?..• 

Tosca 

II tuo sangue o il mio amore 

volea. Fur vani scongiuri e pianti. 

Id van, pazza d'orrore, 

alia Madonne mi volsi ed ai Santi... 

Rideva - il mostro ! - del mio martir ? 

Dicea : g\h negli oscuri 

cieli il paiibol le bracji leva ! 

RuUavano i tamburi... 

Rideva, I'empio mostro... risdeva.., 

gi^ la sua preda prnnto a ghermir 1 



It ACT m. 

(bnnti Into tears, etffmiag Ui fiM with Ut buidt. Xnter Spoletta throagh the trap- 
door, acoonipanled by Totem and followed by the aergeant, who carries a lantern. 
Bpoletta points ont to Toaea where ahe will And CaTaradossi, and then beckons to 
the Jailer, with whom and the aergeant he re-descends the steps, not withont bar- 
ing giren orders to a sentry on guard at the back of the stage to keep close watch 
npon the prisoner. Toaca, who meanwhile has been manifestly in a atate of 
▼iolent agitation, sees Cararadossi weeping, rashes up to him, and— unable to ^peak 
for aheer emotion— lifts his head with both handa, showing hitn the safe-condnct. 
On peroelTlng her he starts to his feet in surprise, and then reads the document 
which she haa handed to him) 

Ah ! Saf e-condnot to Floria Tosca 
and to the gentleman, her companion* 

(in uniaon with Toeca) 



Tosca 

(enthusiastically) 

Thou art free, my love ! 

Cavaradossi 

(perceiTing the signature of the document) 

Scarpia showed meroy ! 

(looking intently at Toeca) 

Full sorely his first concession I... 

Tosca 

(pnta away the aaf e-condnct in her bagi 

And his last ! 

Cavaradossi 

What say*st thou ?... 

Tosca 

He exacted thy life or my love 1... 

Entreaties and conjurations 
Were vain. The saints above 

Woulil j)ay no heed to my wild inv»iC»dons. 
He said, the impious monster, " Now the 
gallows tree is spreading its branches gaily ! " 
The muffled drums were soundinij... 
He laughed, the impious monster, laughed loudly, 
hovei-ing round his quivering prey !... 
« Art mine, then ? " " Yes 1 " 



ATTO TBRZO U 



*^ Sei mia ? " - Si. - Alia saa brama 
mi promisi. Li presso 
luccicava una laraa... 
. £i scrisse il f oglio liberator, 
venoe all'orrendo amplesso... 
lo quella lama gli piantai nel cor. 

Cavaradossi 
Tu ?... di tua man I'acoidesti I - ta pia, 
tn benigna - e per me I 

Tosca 

N'ebbi le mani 
tutte lorde di sangae !... 

Cavaradossi 

(prendendo amorosamente fr» )e eae le mani di Toflca) 

Oh I salvatrice ! 
O dolci mani mansuete e pare 
o mani elette a belle opre e pietose, 
a carezzar fanciolliy a coglier rose, 
a pregar, gionte, per I'altrai sventnre, 
dunque in voi, f atte dalPamor Becore, 
giastizia le sue Bacre armi depose ? 
Yoi deste morte^ o man vittorlose, 

dolci mani mansuete e pure I... 

Tosca 

(sTincolando le mani) 

Senti... I'ora d vicina ; io gi^ raocolsi 

(moetrando la bona) 

ore e gioielli... una vettura d pronta. 
Ma prima... ridi amor... prima sarai 
fucilato - per finta - ad armi scariche. - 
Simulato supplizio. Al colpo... cadi. 

1 soldati sen vanno - e noi siam salvi ! 
PoBcia a Civitavecchia... una tartana... 
e via pel mar 1 

CaTaradossi 

Liberi I 

Tosca 

Chi si duole 
in terra piii ? Senti effluvi di rose ?k.. 
Non ti par che le cose 
aspetian tutte innamorate il sole ?.. 



ACT HL » 

ThiiB I avowed myself defeated. 

He did not see the knife I had secreted... 

He signed the pennit that sets thee free, 

and gives us license to depart... 
The glittering blade I drove into his heart t 

Cavaradossi 
Thou? 
With thine own hand didst thou slay him f 
Thou, most pious and merciful of souls I 

Tosca 

Tes ; both these hands 

with his hot blood were reeking 7... 

Cavaradossi 

(taking her lumda loringly In bli own) 

On ! 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, surrende 
Th'impassive steel that base injustice represses. 
By you was dealt the blow that tyranny suppresses 
Oh ! gentle hands, so delicate and tender ! 

Tosca 

(freeing her hands from his grtsp) 

listen... all now is ready; (nhowsshsnd-baiK) 

I have collected my jewels and money... 

a carriage is in waiting... But first — smile, 

dearest love — you must submit to be fired at... 

fai pretence, of course, and with blank 

cartridges... a mere mimic execution. 

When they fire, fall down. Then die soldiers 

will retire... We shall be safe then I 

Once in Civitavecchia — 

aboard of a lugg§j; and off to sea I 

Cavaradossi 

We are free I 

Tosca 
Free are we I 



m TOSCA 

Cavaradossi 

(colla plti tenen commosione) 

Amaro sol per te m'era 11 morire 
Da te prende la vita ogni splendore, 
all'esser mio la gioia ed 11 desire 
Bascon dl te, come dl fiamma ardore. 
lo folgorare i dell e scolorlre 
Tedrd nelPocohio tno riyelatore, 
e la belt& delle cose piu mire 
tkYrk solo da te voce e colore. 

Tosca 

Amor cbe seppe a te vita serbare 
ci sark galda in terra, in mar noccbler^ 
e vago f ar^ il mondo a rlgaardare. 
Flncbd congiunti alle celesti sf ere 
dilegaerem, siccome alte sul mare 
a sol cadente, nuvole leggere! 

Crtanangoiio oommoesi, lilendoBlt pol Tosca, chiaraata dalla raalU dells cote, ■! 
iaqoleta) 

E non giungono... 

(si Tolge a CaTarado0Bi con premnroea teneiesBA) 

Bada!... 
al colpo egll & mestlere 
ohe tu subito cada 
per morto. 

Cavaradossi 

(la rasBicara) 

Non temere 
cbe cadrd sul momento - e al naturale. 

Tosca 

(inaiatendo) . 

Ma stamml attento - dl non fartl malel [ 

Con scenica sclenza I 

io saprei la moyenza... 

Cavaradossi 

Oa interxompt, attlrandola a 8d) 

Parlami ancor come dianzi parlavi^ 
i cosi dolce 11 suon della tua vocel 



ACT in. 

Cavaradossi 

Free are we I 

To sea 

Free and hiq>p7 we shall be I... 
Dost thou smell the soent 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 

(8he gasee ilxedJy, as though seeing a vision) 

We shall soar high above the globe terrestrial 

(recalled to the realities of the situation, she looks aroand aneaaily) 

And they come not ! 

(to CSavaradossi with anzioos tenderness) 

Remember that you must fall on the 
instant at wKich the soldiers Are I... 

Cavaradossi 

(B^iy) 
Do not fear, love. I shall fall at the 
riJQ^ht moment, and auite correctly. 



ATTOTBRZO 



Tosca 

(■1 abbandoDA qnasL eetaalaUt qoindi a pooo a pooo accakmndoaO 

Uniti ed eRolanti 

diffonderan pel mondo i nostri amori 

armonie di oolori... 

Cavaradossi 

(eaaltandosi) 

ed armonie di oanti ! 

Tosca - Cavaradossi 

(con grande entasiasmo) 

Sparve il duol 
la sitibonda 
anima inonda 
<)elestiale 
crescente ardor. 
In armonico vol 
Panima sale 
airestasi d'amor. 

Tosca 

La patria i \k dove amor ci oondaoe. 

Cavaradossi 

Per tntto troverem Torme latine 
e il f antasma di Roma. 

Tosca 

E s'io ti veda 
memorando guardar lung! ne' cieli, 
gli occhi ti ohiaderd con mille baci 
e mUle ti dir6 nomi d'amore. 

iFrattanto dallo tcaietta d salito an drappello di aoldati : lo comanda on Uflldale, II 

quale tchiera i aoldati nel fondo: eegaono Spoletta, il Sergente, il Careeriera. - 8po> 

leUa di le neoMaari istraaloni. II eielo si fa pih laminoeo ; d Palba: aaonano to 4. 

n Cttooriere si a^yicina a CaTaradoaal e togUendoal 11 berretto gli indica ruilldala). 

Carceriere 
L'orat 

Cavaradossi 

Son pronto. 

(11 Carceriere prende 11 reglatro del condannati e parte dalla scalattel 



ACT III j 

Tosca 

(hififltinO 

But pay attention ; take care not to 
hurt yoarself ! Tis only a stage-trick ; 
I should know bow to do it... 

Cayaradossi 

(intennpting, draws her toward! him) 

Speak once again of thyself , of thy lovery who 
listens to thy dulcet accents with rapture 1 

Tosca 

(esUtically) 

When once we shall be free, how 

joyously we will wander through a world radiant^ 

harmonious, sublime — the planet of love I... 



Together 

(In nnieon) 

Farewell, pain I 
Every feeling 
Now is revealing 
Heavenly bliss and perfect joy. 
Our cares were idle and v%L': 
Now gladness is ours 
Qladness without alloy 1 




Tosca 

;rhine eyes PU fondly close with countless kisses, 
and loving words I'll whisper in thine ears... 

Jailer 
Your time is come I 

'approachM Cavaradoasi and points to the ofBoer, taking off tUa cap jthen picka op tb* 
reslater of coudemned prLsoners, and exit throogh trap-door The chorch docki 
■trlke 4 a.in.) 

Cavaradoss! 

Fm ready } 



A TOSGA 

Tosca 

(a Cayandoni, con voce bassisBima e rldendo di soppiatto) 

(Tieni a mente: al primo 
colpoy gill...) 

Cayaradossi 

(sottOYOce, ridendo eseo pure) 

(Git). 

Tosca 

(Ni rialzarti innanzi 
oh'io ti chiami). 

Cavaradossi 

(Noy amorel) 

Tosca 

(E cadi bene). 

Cayaradossi 
(Oome la Tosoa in teatro). 

Tosca 

(Non ridere...) 

Cayaradossi 

(faoendoei capo) 

(Cod?) 

Tosca 
(CoBi). 

;CaTando0ai sega* r UfflaiaJe dope aver Balotato Toeca, la quale si ooUoca a Binistra 
B«Ua casamatta. Id mado perO ft poter Bplare qaanta meeede salla piaitaforma 
BMa yeda rUffldale ed llSergente che condocono OawadoMd presso a) muro d) 
fascia a Id: 11 Sergente vool porre la becda agU occhi dl CavaradoeBi: qnesti, 
■onidende, lUnta. - Tali lognbri preparativi atancano la pasienza di Toeca). 

Tosca 

Com'd lunga I'attesa! 
Perchd indagiano ancor?... Gi& sorge il sole... 
Perohd indugiano ancora ?... d una commediay 
lo so... ma qaesta angoscia etema pare!... 

jTUfllciale e 11 Sergente dispongono il pelottone del Boldaii, imparteodo gU ordlnl relar*«« ' 

Eoool... apprestano I'armi... com'd bello 
il mio Mario I... 



*' ACT m. 

Tosca 

(In a low Toloe, BuppreeeiDg her laoghter) 

Now remember... aB soon as ihey fire... down J 

Cavaradossi 

(■peaking ooder his breath, and laoghing) 

Down ! 

Tosca 
On no acconnt must yon rise until 1 call yov. 

Cayaradossi 

Noy beloved. 

Tosca 

And fall down lightly. 

Cayaradossi 
Just lik» La Tosca on the stage. 

Tosca 

(■eeing him Bmiie) 

Ton must not laugh... 

Cayaradossi 

(gravely) 

Like this ? 

Tosca 

Like that. 

Utawwadoaei foUowa the ofllcer after having taken leave of Toaca, who remaina ;t (b^ 
eaaamate, taking up a position L., from wtiich she can see what takes piaoa sc tt- 
platform) 

Tosca 

IwatelUng the oflloer and sergeant, who leads Cavaradossi np to the wall facisf ^*^ 

This delay is vexatious ! 

What are they waiting for now ?... 

The sun is now rising... 

••criTpant offers to bandage Cavaradossi^s eyes ; smiling, Cavaradoesi rtsriiiMi 
T^urm- logobrions preliminaries weary Tosca*s p a t ience) 

^Tis but a farce I know... 

Tet this anxiety is dreadful !.». 



ATTO TBBZO 



redendo rUffldale eke sta per abbusare la sdabola, ai poita le man! afli onochi par 
Hon odire la detonaalone ; pol fa cenno colla testa a CayaradoaBi di cadere, difwndft.> 

L^! maori! 

(Todendolo a terra gli Invia coUe man! nn bacio) 

Ecoo xm artistal... 

CD Satgente ■! aYrieina al cadnto e lo oaeerra attentamente: Spoletta pore ai d aTvkL 
nato; allontana 11 Seigente impedendogU dl dare il colpo di grazia, qaindl copre Ca 
▼aradoflai con on mantello. L'Ufflclale allinea i soldatl- ilSergente ritira la Mott 
nella che sta In f ondo, pol tutti, predecoti da Spoletta, scendono la acala. Tosca d 
agitatiasima: esaa aonr^Ila qneeti moyimenti temendo che CaTaradoeai, per impa> 
aienaa, ai maora o parli prima del momento opportnno). 

(a voce repreeea yerao CayaradoBfi) 

O Mario, non ti muovere... 

Ma gik s'avviano... taci! yanno... scendono. 

(flsta deeerta la piattaf orma, ya ad ascoltare preeso Timbocco della scaletta: vi si ar 
reita trepidante, aflannosaparendole ad nn tratto che 1 soldatl, anzichdallontanarst 
ritomlno snlla plattafonna - di naoyo siyolge a Cayaradossi, eon yooe baaaa) 

Aneora non ti muovere... 

aaoolta - si sono tatti allontanati, ya al parapetto e cantamente spozgendoal, oaseryt 
diaotto) 

Or varoano il oortile... 

(corre yerso Cavaradosai) 

Mario, su, presto ! Andiamol... andiamo!... Sn! 

Dd china per aiatare Cayaradoaal a rialzarsi: a on tratto dk nn grido enflocato di tat* 
roia, di sorpresa e ai gnarda le manl coUe qnali ha aolleyato il mantello) 

Del sangue?! 

Ori liiginooGl\ia, toglie rapldamente 11 mantello e balaa in piedl liyida, atterlU) 

Morto!... morto!... 

fMO impoate parole, con aospiri, singhiozz! si bntta sul corpo di Oavaradoaal, qnaar 
non ondendo all^orribll deotino) 

O Mario... morto ? tu ? oosJ ? Finire 
oosi ?... cosl ?... povera Floria tua! I 

Onmto dal oortile al disotto del parapetto e sn dalla picoola scala arrfyano prima 
fdasi poi sempre pift yidne le yocl di Sdarrone, dl Spoletta e di alcnnl soldati) 

La yoce di Sciarrone 

Vi dicOy pugnalatol 



Airr 



and wrgwnt dmw op the flring.p«rt7 in readlneM for the word of oonmuaid) 

At last I they are priming their muskets. 

th«t the officer Is abont to lower his sword, she slope her ears with her haadi in 
not to bear the explosion, and nods to Cavaradossi as a signal that he Is (o fall) 

How handsome is my Mario ! 

VThe officer lowers h s sword, and the soldiers Are) 

There I Die now I 

(seeinff CavaradoBsi prostrate, she kisaes her hand to him) 

How well he acts it ! 



CTbn sstgaant inspee a thebodrcsrefolly. Spoletta hinders him from giving the 
QOBt<nnarT covp d$ groM, The officer ranges his men in single file, the sergeant 
reile es the sentnr c/.. and the whole P^rty, prsceded by Spoleita, passes throngb 
ttie trap-door and down the steps. Toeca Das watched their every movement 



reile es the sentnr c/.. and the whole P^rty, prsceded by Spoleita, passes throngb 
ttie trap-door and down the steps. Toeca Das watched their every movement 
anzioasiy, fearing that Cavaradossi may lose patience, and move or speak pre 



Oh I Mario, do not move yet... 
lie quietly ... silence I 

(wtaan they had left the platform, she rans to the trap-door and stands by it listening Is 
Violent trepidation) 

They are going... going down... down ! 

CWgring that she hears the soldiers retnmlng to the platform, she tnms again to 
Onvandossi) 

Not yet, I prithee... move not yet... 

(she leans cantionsly over the parapet, looking downward) 

Now get up I 

(again approaching Cavaradossi) 

Mario ! Tip quickly I Away I 

(tonchlng him) 

dp I up 1 Mario I 

(uncovering the corpee) 

Ah I ^desperately) Murdered I 

Oh I Mario ; murdered ! 

(sighing and sobbing) 

Thou ?... and thus ?... 

(ihrowicg hexself npon ihe boiiy) 

That thou shouldst end thus I 

(agonized by grief) 

What shall become of Floria ? 

Beloved Mario, what is life without thee ? 

(embracing the body) 

Thou I murdered I 

Qniijmis of SpoJetta, Sclarrone, Soldiers, Ac., are heard afar off beneath the stage. 

Sciarrone 
I tell you, stabbed to death 1 



•0 TOeOA 

Voci confuse 

Scarpia?..* 

La voce di Sdarrone 

Scaq)ia. 

La voce di Spoletta 
Lft donna i Tosoat 

Vane yoci piu vicine 

Che non sf uggal 

La voce di Spoletta 

(plh yldnft) 

Attenti 
I& - alio sboooo delle scale... 

Hpjiet l a appMiaoe dcJia acala, mentre Sciarrone dletro a lol gU grlda uddltiuido TtiMr4. 

i:ieu 

spoletta 

(gettandofli an Toaci) 

Ahl ToBoa, pagberai 
ben cara la saa vita... 

9oiea balsa In piedi e iaTece dl afngglre Spolatta, lo VMpliifo ▼totontamaate, Unm* 
dendogU:) 

Tosca 

Oolla mial 

(alVnrto inaapettato Spoletta di addlatro • Toaoa laiilda gU afngge, paaia aTaoti « 
Sciarrone anoora aolla acala e correado al parapetto si gotta nal vnoto gridando:* 

O Soarpia, avanti a DioL.. Avanti a Diol 

(Scianona ed alcimi aoldatl, salitl confnaamsnto, commo al paiapetto a gnanUMt 
gl^ Spoletta ilmaiieeetetrafatto,aUiblto). 



I 



m ACT m. 

Spoletta and Chorus 

Soarpia? 

Sdarrone 
Scarpia? 

Tosca 

(weeping) 

Mario I What shall become of Fiona ? 

Spoletta 
Twas ToBoa killed him I 

(approaehiag doeer and ckieer) 

Sciarrone and Chorus 

She must not escape I 

Keep watch on the foot of the staircase ) 

(Tostii, weeplns bitterly, falle opom CATaradoeei^B oorpee. Gteat nofie under the «uir> 
BpoietU ana Sciarrone lesne from the trap>door) 

Sciarrone 

(pointing oat Toeca to Spoletta) 

msshel / 

Spoletta 

Ah I Tosca, thou shall pay full dearly for his lif e... 

(rallies at Toeca, who thmets him back no violently that he all bat falls prostrate Sai* 
then springs apon the parapet of the terrace) 

Tosca 

With my own !... Oh ! Scarpia, 
we shall meet on High I... 

(throws herself into space. Sciarrone and the soldiers emerge from the staircase K 
coofasion, rash to the parapet and lean over it, looking downward. Spoletta, honor 
atricken, remains stitiniry.) 

QcncK Curtain. 
FINI& 



Miniature 
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Size 9^x7 inches 

Bellini— "NORMA" $10 Net 

Boito— "MEFISTOFELE" 12 « 

"NERONE" 15 " 

Donizetti— "L'ELISIR D'AMORE" 10 " 

Mascagni— "IRIS" 12 " 

Montemezzi— "L'AMORE DEI TRE RE 12 " 

Pizzetti— DEBORA E JAELE 12 " 

PonchieUi— "GIOCONDA" 10 « 

Puccini— "LA BOHEME" 12 " 

"MADAM BUTTERFLY" 12 " 

"MANON LESCAUT" 12 " 

"TOSCA" 12 " 

"TURANDOT" 

"FANCIULLA DEL WEST" 12 " 

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Verdi— "AIDA" 10 " 

"UN BALLO IN MASCHERA" 10 " 

"FALSTAFF" 12 " 

"OTELLO" 12 " 

"RIGOLETTO" 10 " 

"TRAVIATA" 10 " 

"TROVATORE" 10 " 

"REQUIEM MASS" 10 " 

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"FRANCESCA DA RIMINI" 12 






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Madam Butterfly 

(J. L. Long and D. Belasco) 
L. ILLICA G. GIACOSA 

The Music by O. PUCCINI 

English Version by R. H. ELKIN 

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English Version by W. BEATTY-KINIGSTON 

Music by O. PUCCINI 

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An Opera in Four Acts 

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Music by G. PUCCINI 

Wilh English Text by W. GRIST & PERCY PINKERTON 

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