TOSCA Opera in three acts. Libretto by Giuseppe Giacosa and Ligi Ilica Based on the play by Victorien Sardou First performed at the Teatro Costanzi, Rome, Fanuary 14, 1900 CHARACTERS Floria Tosca, a famous singer: soprano Maio Cavaradossi, her lover, a painter: tenor Baron Scarpis, chief of Roman police: baritone Cesare Angelotti, an escaped political prisoner: bass The Sacristan: bass Spoletta, Scarpia's police agent: tenor Sciarrone, a gendarme: baritone A Jailer: bass ‘A Shepherd: boy soprano ‘A Cardinal, a Judge, the executioner Roberti, a Scribe, an Officer, Soldiers, Police, Ladies, Nobles, Bourgeois, Populace, Acolytes, Altar Bays, Priests ‘The time is June, 1800 in Rome. THE PLOT ACTI ‘The interior of the church of Sant’ Andrea della Valle Angeloiti, a political prisoner, enters furtively, having just escaped from the prison in Castel Sant'Angelo through the help of his sister, the Marchesa Attavanti. She has left some women’s clothes hidden for him in the church as well as the key to the Attavanti chapel, so that he can hide and disguise himself. After Angelotti hides, the painter Mario Cavaradossi comes in to resume work on his painting of the Magdalene. The comic Sacristan points out the resemblance between the Magdalene in the painting and a strange lady who has been coming to the chureh lately (referring to Angelotti's sister, the Marchesa Attavanti). Cavaradossi sings of the curious harmony of the strange lady's beauty with that of his beloved ‘Tosca. Recognizing Mario as an old friend and political ally, Angelotti comes out of hiding. Cavaradossi promises to help, but their conversation is interrupted by the arrival of the jealous Tosca, Cavaradossi uickly gives him his basket of food and Angelotti once again hides in the chapel. Mario must now deal with Tosca's suspicions, which are finally allayed, and the two agree to mect again that evening. Tosca leaves and Angelotti again comes out of the chapel. A cannon shot is heard, which tells Cavaradossi and ‘Angelotti that the latter's escape has been discovered, and they both run off to Cavaradossis villa outside the city, where Angelotti will hide. ‘The Sacristan arrives with the joyous news of Napoleon's defeat but Mario has gone. Acolytes and altar boys noisily prepare for the Te Deum which is to celebrate the victory of the royalists, but the sudden arrival of Scarpia and his henchmen silences them, Angelotti has been traced t0 the church. Mario's ‘empty food basket is found in the Attavanti chapel, which throws suspicion on the painter. Tosca returns to the church wishing to tell Cavaradossi about a change of plans for that evening, and is disturbed at not finding him. Scarpia cleverly uses the Marchesa Attavant's fan (also found in the chapel) to play on ‘Tosca's jealousy and to trap her into a false move. Scarpia makes unctuous advances at the singer, and she leaves abruptly to go to Mario's villa. Scarpia sends Spoletta after her. During the ensuing Te Deum, Scarpia expresses his desire to have Mario executed and to possess the beautiful Tosca, ai iain lie ahaa ih SiR nhs oa Ul I he seta100 acTIt ‘The Palazzo Farnese ‘Scorpia is in his apartments in the Palazzo, In another part of the building a celebration is being held. Spoletta enters and tells Scarpia that Angelotti could not be found at Cavaradossis villa, but that Cavaradossi himself was arrested and brought in for questioning, but refuses to say anything, ‘Tosca, summoned by Scarpia, also arrives and Mario in a whisper begs her not to say anything about what she ‘Saw at the villa, Scarpia has Cavaradossi tortured and though the painter refuses to talk, Tosca, horrified ‘at his suffering, discloses Angelotti's hiding place. Cavaradossi reproaches her angrily, but his anger ‘tums to joy when Sciarrone, another of Scarpia's henchmen, comes in with the news that the Battle of Marengo has in truth been won by Napoleon and not the royalists, as first reported. Cavaradossi's ‘gloating and shouting infuriates Scarpia, who has him taken off to prison at the Castel Sant'Angelo, to be shot at dawn. Tosca pleads in vain for mercy and Spoletta comes beck to announce that Angelotti, rather than submit to capture, has killed himself, Once alone with Tosca, Scarpia offers her a repulsive bargain: her Jove in exchange for Mario's life. She eventually agrocs, but on the condition that she and Mario be ‘permitted to leave the country immediately afterwards. Scampia then tells her that there must be a mock ‘execution. While he is writing a safe-conduct for Tosca and Mario, Tosca sees a knife on the table, As ‘Scarpia comes to claim his part of the bargain, she stabs him and kills him. ACT IM ‘The Castel Sant’ Angelo ‘A shepherd boy is heard singing. Mario is brought to a parapet of the castle just before dawn and left ‘alone. He thinks about his love and about his life, which is about to end. Tosca arrives and gives him the ‘good news that they have a safe-conduct and can now escape, and she also confesses that she has ‘murdered Scarpia for his sake. ‘They sing of their love and their future. Soldiers enter and prepare Mario forhis execution. ‘They fire and Mario falls, After their departure Tosca runs to the fallen Mario and tells hhim to get up. Its then that she discovers to her horror that he has been killed by real bullets and that she thas been cheated by Scarpia. Now Spoletta, having discovered the body of Scarpia, rushes up the stairs to arrest Tosca. She jumps off the ramparts of the fortress, killing herself before she can be captured.Tosca, Act I 101 ACTI ‘The interior of the church of Sant'Andrea Della Valle (On one side of the church is the Chapel of the Attavanti. On the other side, a scaffolding on which is a large painting covered by a cloth, various painter's implements and a basket. The escaped prisoner, Angelotti, gasping, exhausted and trembling with fear, enters from a side door. He looks around.) ANGELOTTI a finalmente nel terror mio ‘stolto. Ant Finalmente!... Nel terror mio stolto Ant Finally! Im (the) terror mine foolish (Ant... Finally!... In my foolish terror) vedea ——tfeffi di ‘birr> in ‘oni ‘volto vedea effi di birro in ogni volto. Iwas seeing mugs of cops in every face. (L was seeing a cop's mug in every face.) (Calmer now, he again looks around carefully, trying to recognize the place, He gives a sigh of relief as he sees the column with the holy water font and the Madonna ) la pila la kolonna La pila. Ia_—_colonna.. The font the column. al pie ‘della madonna mi'skrisse mia so'ella "A pit della Madonna” miserisse sorella "At (the) foot ofthe Madonna" me wrote sister. \ ("At the foot of the Madonna” my sister wrote to me...) (He comes closer and looks at the foot of the statue of the Madonna, and with a stifled ery of joy picks up akey.) ‘ekko la kjave ed ‘ekko Ja ka'ppella Ecco Ia chiave. ed ecco Ia cappellat Here's the key... ‘and here's the chapel! (He points to the Attavarnt chapel, carefully puts the key into te lock, opens the gate, goes in, closes the ‘gate again and disappears.) (Holding in his hands a bunch of brushes the Sacristan enters from the back talking to himself in a loud voice, as if he were talking to someone.) SACRISTAN © ‘sempre ‘lava on pennelly © ‘sottss E sempre lava... — Ogni pennello — sozz0, And always wash! Every brush is diny, peddso dun olla'in duno skajynatis peggio d'un collarin — d'uno——_seagnozzo. worse thanthe collar ofa poor priest.102 Tosca, Act I sippor to Signor To! Mister What! (fe looks towards the scaffolding where the picture stands and seeing no one, exclaims surprised:) ne'ssuno—alvrei dgurato ke fosse ritornato Nessuno. vrei giurato che fosse ritornate Noone, [could have swom that he'd retuned, il kavaljer —_kavaradossi il cavalier Cavaradossi. the Cavaliere Cavaradossi (He puts down the brushes, climbs the scaffolding. looks inside the basket and says:) no "zhao il panjere =e ——intatto No, _sbaglio. Tl paniere == &~—intatto. No, Tmmisiaken. The basket is_—_untouched, (He comes off the scaffolding, The Angelus tolls. The Sacristan kneels and prays sofiy,) ‘andselus ‘domini nuntsiavit ma'rie Angelus Domini nuntiavit Marice LATIN: The Angel of the Lord declared unto Mary et koritfepit de ‘spiritu 'sankt> et conceplt de Spiritu Sancto, LATIN: and She conceived of the Holy Spirit. ‘ettfe ant{illa ‘domi Ecce ancilla Domini LATIN: Behold the handmaid of the Lord; ‘fiat tiki secundum 'verbum ‘tuum, Fiat miki secundum verbum tuum LATIN: be it done unto me according to Thy Word ct 'verbum ‘karo faktum est Etverbum caro factum est LATIN: and the Word was made flesh ct abitavit in ‘nobis Et habltavit in nobis... LATIN: and dwelt among us... CAVARADOSSI (from the side door, seeing the Sacristan on his knees) ke ffa Che fai? What are you doing?Tosca, Act I 103 SACRISTAN (rising) ‘retfita ‘landselus Recito VAngelus Tm reciting the Angelus. (Cavaradossi climbs the scaffolding and uncovers the painting. It is a Mary Magdalene with big blue ‘eyes and.a great shower of blond hair. The painter stands silent before it, observing it. The Sacristan, turning towards Cavaradossi to speak lo him, sees the uncovered painting and emits a ery of wonder.) ‘sante ampolle il suo ritratts Sante ampolle! I suo ritratto! Holy cruets!’ Her picture! CAVARADOSSI dk Di chi? Of whom? SACRISTAN a : ke i di pa'ssati. «=a preyar = kwi__vernia. che i di passati. = @—pregar qui venia who in days past to pray here came (Ofthat unknown lady who came to pray here in these past days) ‘uta devola =e ppia As tutta devota ein. all devout. and pious. (lle nods towards the Madonna where Angelotti had found the key.) CAVARADOSSI (smiling) wee tanto cllera ——imfervorata E yero. E tanto ellera——_infervorata Its true ‘And somuch — wasshe filled with fervor ‘nella sua pre'giera io ne pinsi nella sua preghiera ch'io ne pinsi, inher prayer that painted, nom ‘visto il bel semjante non visto, il bel sembiante. unobserved, her lovely face, SACRISTAN (scandalized) work 'satana—fwork (Fuori, Satana, fuori!) (Out, Satan, out!)104 Tosca, Act I CAVARADOSSI dammi i kolori Dammi i colori. Giveme the colors. (The Sacristan obeys. Cavaradossi paints swifly and stops often to look at his work. The Sacristan ‘comes and goes, bringing a basin in which he continues to wash brushes. All of a sudden Cavaradossi stops painting and takes from his pocket a medallion which contains a miniature, and his eyes go from the ‘medailion to the painting.) rekondita armania di_—belllettse diverse Recondita armonin di bellezze Hidden harmony of beauties © trina ‘floria Jardente amante mia EB bruna—Floria, == ardente amante mia. Is dark Floria, the ardent mistress_—_-mine... (Ploria, my ardent mistress, has dark hai. SACRISTAN (grumbling) skersa koi “Fanti © taffa ‘siare i Scherza Joke fanti © laseia stare i ith the soldiers. and leave alone the saints... (He goes off to get waier in order to wash the brushes.) CAVARADOSSI © te beltade —innota = afimta di kjome vue te belinde —ignota, cinta di chiome : .and you, beauty unknown, — girt with hair (and you, unknown beauty wreathed in blond hart...) tu addzurrs Tokkjo toska =a oki. nero Tu azzurro bai Tocchio, Tosca ha —'occhio nero! You bive have theeyes, Tosca has’ eyes back! (You have blue eyes, Tosca has black eyes!) SACRISTAN (returning from the back and still scandalized, continuing, io wash brushes) ‘skertsa koi “Fanti © faffa stare jal Scherza coi fanti © Iascia stare i tit Joke withthe soldiers and _leave alone the saints! CAVARADOSSI lane nel suo misters Liarte nel suo mistero Art in its mystery le diverse belllettse—insjem ——_komfonde le diverse bellezze—insiem =——_confond the various beautics together. mingles: "The grumbling Sacristan knows of Cavaradossi’s Napoleonic political leanings, and the implication here is that fhe should concer himself more with wordly matters rather than painting saints like the Mary Magdalene.Tosea, Act I 105 ma nel ritrar —— kostei ilmio sola pensjero Ma nel ritrar —_costet ilmio solo _pensiero, But in painting this women, my only thought, a ilmio sol penser sei_ stu task sels Ah! ilmio sol pensier sei tu! Tosea, sei tu! aht my only thought is you! Tosca, —is-_—_-you! (He continues o paint SACRISTAN Kweste. diverse ‘gonne Queste diverse. —_gonne These different skirts ke anno konkotrentsa alle maidonne che fannoconcorrenza alle Madonne ‘that compete withthe Madonnas ‘mandan ‘tamfo. infers mandan —tanfo. ——_d'inferno. emit (a) stench of hell. (He dries the washed brushes, not without continuing his grumbling ) ‘skertsa koi ‘fanti e ‘stare i ‘sant Scherza coi fanti e stare i santi, Joke withthe soldiers and eave alone the saints. ma ko kwei Kani di volterrjani Ma con quei cani di Volter But with those dogs of Voltaireans, ne'mitfi del santissimo go'verno nemici del santissimo governo, enemies of the most holy govemment, non tfe da ‘meiter 'votfe non c’é da metter voce!... ‘one can't raise one's yoiee!... (He sets the basin below the scaffolding and places the brushes in a pot, near the painting.) dsa‘sono—impenitenti ‘tutti ‘kwanti Gia sono impenitenti tutti quanti! They are impenitent one and all! fattfam —pjuttostoil_—seppo della “krotfe Facciam — piuttosto. il segno, della croce. Letus make rather the — sign of the cross. * Volteriani (*Votaircans") was the name applic to the followers of the doctrines of Voltaire, French poet, dramatist and reformer (1694-1778),106 (10 Cavaradossi) cttfellientsa Eccellenza, Your Excellency, Tosca, Act 1 ‘vado vyado. Tm going. CAVARADOSSI fa il tuo pjatfere Fa iltuo piacerel.. Do as you please! (He continues to paint,) SACRISTAN (indicating the baskei) pjenoe = il—patnjere fa penittentsa Pienoe —il_——paniere... Fa penitenza? Full is the basket... Areyou doing penance? (The basket is full... Are you doing penance?) CAVARADOSSI fame mon 9 Fame non ho. Hunger not Thave. ('m not hungry.) SACRISTAN (ironically, rubbing his hands) 9 mirigkreffe ‘Oh!... mi rineresce! Oh!... I'm so sorry!... (He can't contain a gesture of joy and a look of greed towards the basket, which he takes and sets slightly tothe side, He sniffs two pinches of snuff tobacco.) adi kwande[fe ‘kjuda Badi, quand’esce chinda, Mind you, when you leave, close up. CAVARADOSSI Val Go! SACRISTAN Vo! ! I'm going! } (The Sacristan leaves through the back. Cavaradossi goes back to work with his back turned to the chapel Angelotti, believing the church to be deserted, appears behind the gate and inserts the key fo open it) CAVARADOSSI (41 the creaking of the lack, he turns around.) ‘dente la ‘dentro Gente _ladentro! ‘Someone's inside! ee ee ee ee hlee ee Ar ae Tosca, Act I 107 (At Cavaradossi's movement, the terrified Angelotti stops as if to hide in the chapel again, but as he raises his eyes, a barely stifled cry of joy bursts from his breast. He has recognized the painter, and holds his ‘arms out 10 him.) ANGELOTTI voi kavaraidossi iddis Voit Cavaradossi Iadio! You! Cavaradossi! You're sent (by) Godt (Cavarodossi doesn't recognize Angeloti and remains dazed on the scaffolding Angelo comes closer 40 as to make himself known.) nom mi ravvi'zate ikarfere ma ‘dugkwe —assai mutats Non mi rayvisate! Hcarcere m'ha dunque —_assai mutatot ‘You donttrecognize me! Prison has then somuch changed me! (Recognizing Angelotti, Cavaradossi puts down his palette and brushes and rushes off the scaffolding towards him, looking cautiously around.) CAVARADOSSI andye'oti il —konsole_ della ‘spenta. ——cepubblika romana Angelotti! I Console della spenta —repubblica romani Angelotti! The Consul —_of the extinct Republic Roman. (Angelotti! The Consul of the extinet Roman Republic.) (He runs to close the side door.) ANGELOTTI fuddsi —pur‘ora = da_—_—kastel sartandyel> Fuggii purora da _—_ Castel Sant’ Angelo... escaped justnow from Castel Sant*Angelo. CAVARADOSSI disponete di me Disponete di me. Dispose of me. (Lam at your disposal.) TOSCA (from outside) ‘marjo Mariot CAVARADOSSI (At Tosca's voice, he makes a quick gesture to Angelotti to be silent.) € una ‘donna dyeloza una donn: gelosa. I's a woman... (and) jealous. um ‘breve istamte la simando Un breve istamte © ~—n rimando. A brief moment and _I'll send her away. TOSCA (from outside) ‘marjo Mario!108, Tosca, Act CAVARADOSSI (lowards the little door from where Tosca's voice is coming) iekkomi Kecomit Herel am! ANGELOTTI (Seized by a fit of weakness, he leans against the scaffolding.) ‘song'stremo di ‘fortse pj non reqgo Sonostremo di forze, _ pit non reggo... Tmattheend of (my) strength _I cantt stand any more... (Cavaradossi quickly climbs the scaffolding and comes back with the basket of food which he gives to Angelotti, encouraging him to go towards the Attavanti chapel) CAVARADOSSI in ‘kwesto = painjer ve vfibo © ‘wino In questo panier «v8 cibo © ino. In this basket there's.» food and wine. ANGELOTTI ‘grate Grazie! ‘Thanks! CAVARADOSSI ‘presto Presto! Quickly! (Angeloitt goes into the chapel.) TOSCA (rom outside, annoyed) marjo Mario! CAVARADOSSI (Feigning calmness, he opens the door to Tosca.) soy kwi Son quit T'm here! (Tosca enters with a sort of violence, looking around suspiciously. Mario approaches her to embrace her ‘but she rejects him Brusquely.) TOSCA perke ‘Kjuzo Pereht ——_chiuso? ‘Why locked? (Why was the door locked?) ‘CAVARADOSSI 1b ywole il sagrestano Lo wuole il Sagrestano... It wants the — Sacristan. (The Sacristan wants it locked...)Tosea, Act TOSCA a ki A chi To whom ‘were you speaking? CAVARADOSSI ate A tet To you! TOSCA ‘alte parole Altre parole Other words birbiséavi bisbigliavi. you were whispering. ove ove? CAVARADOSSI Ki Chi? Who? TOSCA kolei Coleit Shel.. ‘bwella Quella ‘That pudito i Houdito i the a) © om and a fruffio fruscio rustling CAVARADOSSI ‘sonpi Sognit You're dreaming! TOSCA Ib negi Lo neghi? ‘You deny it? CAVARADOSSI (érying to kiss her) begs c= tama Lonego e¢ — t'amol Tdenyit and love you! TOSCA (with gentle reproach) 9 inmantsi la madonna Oh innanzi la Madonna? Oh! Infrontof the — Madonna? no ‘majo No, Mario No, Mario mio mio, mine, taffa Inscia allow pria ke pria che first that Where is she? ‘esti passi esti passi hasty. footsteps la pregi la preghi, Tpray to herLo Tosca, Act 1 Ke lingtjori che Tinfiori, that Ibedeck her with flowers... (No, my Mario, let me first pray to her and bedeck her with flowers.) (She goes slowly to the statue of the Madonna, and places the flowers she has brought with her around tt ‘She kneels and prays with great devotton. She blesses herselj and rises. Then she says to Cavaradossi, ‘who in the meantime has gone to resume his work:) ‘ora ‘Stammia senttir —sta'ssera— ‘kant Ora stammia sentir... stassera canto, Now listen to me. tonight I sing, mae spetttakolo ‘breve ma @ spettacolo breve, but itis (@) performance brief. (but its a short performance.) tu maspetti sutluff> ‘della fena Tu m'aspetti sulluscio della seena You'll wait forme _at the stage entrance © alla tua Villa andjam ‘soli solletti alla tua villa andiam, soli, soletti, and to your villa we'llgo, alone, quite alone. CAVARADOSSI (who has been lost in though) Sta'ssera TOSCA © luna'pjena e il nottums §—effluyjo —_flare’al lunapicna ¢ il notturnoeffluvio.—_floreal ts afullmoon and the noctumal perfume —_of the flowers bail kor on sei _koritents bria il cor. Non sei _contento? intoxicates the heart. Aren't you pleased? CAVARADOSSI (distracted) ‘tanto Tanto! Very much! TOSCA (struck by iis cold tone) ‘tomals a dir Tornalo a dir! Say it again! ‘CAVARADOSSI ‘tanto Tantot ‘Very much!‘TOSCA (annoyed) lo Lo dici ‘You say it ke che which ‘nido a Nido a Nest. to (A nest sacred to-us, unknown to the whole world,) pien pien full alu Al tuo At your stellate stellate starry ‘male male. badly. ‘tutta tutta all noi noi us da'more «amore oflove ‘fjanko fianco side ‘ombre: ombre shadows ‘non la sospiri Non la sospiri Dont you sigh for askoza nel verde ascosa —nel__verde hidden inthe greenery ssakro sacroy sacred, ipnota al ignoto al unknown, e di e di and of mister mister? mystery? sentire sentire tohear per per through salir le salir le rising the vorfi yoo voices Ja ‘nostra, Ia nostra our ci for us "mondo mondo to the world kezetta casetta Tittle house aspetta aspetta? waits? inter inter, entire, le silentsjoze Te silenziose the silent ‘delle ‘kaze delle cose!... of things! (At your side to hear the voices of everything rising thorugh the starry shadows!...) dai Dai From the datlims dall'imo “boski boschi =~ dai ‘woods from the depths Ta ‘notte ‘eskon Ia notte escon at night come forth whispers of © perfidi € perfidi and forite Ficrite, Bloom, treacherous ° ° oh nel lunare nel Tunare in the Junar ee dai and from the dei franti dei franti ofthe broken tombs bizdiAci di bisbigl di korisi€Ai ke. consigli che counsels which kampi—'mmensi campi mer fields immense, altbor a albor, Abt whiteness, ah! pjo'vete plovete roveti roveti, thickets, sepotkreti sepolereti odorosi minuskoli minuscoli tiny Rain down, dallarse dall'arse erbe, from the bumed _graises, odo'rori smelling ammoliskono ammoliscono soften palpitate ‘ure palpitate, palpitate, (Bloom, ob immense fields, palpitate, sea breezes) volutta volutti, lust, ‘amori loves aure breezes rerbe di timo) di timo, of thyme,12 Tosca, Act volte stellate ‘arde in ‘taska um ‘Tolle amor volte stellate! Arde in Tosea un folle amor! vaults stay! There burns in Tosca a —smad_lovel (Starry vaults, shower down lust! In Tosca there burns a passionate love!) CAVARADOSSI a mavwvingfi pe twoi atti mia sirena Abt Mfavvinei ne! tuoi lacei, ‘mia sirena! ‘Ah! You enthrallme in your bonds, my siren! TOSCA ‘arde a 'bska el ‘sangwe il fll ‘amor Arde a Tosca nel sangue il folle amor!.. Thereburns in Tosca -—iner_~—=—= blood =the’ passionate love! ‘CAVARADOSSI mia sirena vero Mia sirena, —_verrait My siren, Tl come! TOSCA (She leans her head against his shoulder; he almost at once moves away a bit, looking towards where Angelotti is hiding.) 3 mio amore © mio amore! Oh my love! ‘CAVARADOSSI or lafjami_ al le'voro Or lasciami —al_—_ lavoro. Now leaveme to work. TOSCA mi diskattfi Mi discacci? Are you driving me away? CAVARADOSSI wuniseopra ssi Urge Yopra, lo Urgent is the work, you know! TOSCA (annoyed, rising) ‘vado ‘vado Vado. Vadot I'm going... I'm going! (She moves away from Cavaradossi, then turns to look at him and sees the painting Highly agitated she ‘comes back to her lover.) ki e —‘kwella ‘donna. bjonda tetsu Chi @ quella donna_——bionda_—_lasst? Who is that woman blond up there? (Who is that blond woman in the painting up there?)Tosca, Act I CAVARADOSSI la maddallena «i piafe La Maddalena. Ti pince? The Magdalene. Do you like her? ‘TOSCA © troppo E troppo She's to0 CAVARADOSSI (laughing and bowing) pre'ttsjoz9e'lodgo Prezioso —_elogio! Precious compliment! TOSCA (suspicious) ‘ri kwe'skokki {filestini de Ili vidi Ridi? Quegl'occhi cilestrini gid You're laughing? Those eyes pale blue Tve already seen (You're laughing? I've seen those pale blue cyes before...) CAVARADOSSI tfe ne ‘tanti pel ‘monds Ce n’é tanti pel mondot ‘There are so many like that the world! TOSCA (irying to remember) aspetia =e —_Mattavanti Aspett Wait... its (Wait. ls the Attavanti woman! CAVARADOSSI (laughing) ‘trava Bravat Good for you! TOSCA (blind with jealousy) Ia ‘vedi ‘tama, tu Tami La vedi? Tama? Te lami? You see her? She loves you? You love her? CAVARADOSSI (irying to calm her) ‘pur. ‘kaz3 UFO €as0m pure chance. TOSCA (not listening, with jealous rage) kwei jpassi @ — kwel bizbik<> Quei passi € quel bisbigli Those footsteps and that whispering,kwi ‘stave pur ‘ora qui stava prorat... Here she was, even now! CAVARADOSSI viem via Vien viat Come away! TOSCA ala tfivetta a mme amme Ab! Ia civetta!? Ame Ame Ah! That screcchowl! —Leavehertome!_ To me! CAVARADOSSI (seriou) Javidi jedi ma fu pur azo Lavidi eri, ma fu puro caso. saw her yesterday, but itwas pure chance... a pregar wi ‘Yenne nom vist). la. ritrassi © pregar qui venme, nom visto la ritrassi. wo pray here she came, unseen her I painted. (she came here to pray, and unseen by her, I painted her.) TOSCA, Come mi guarda fiso! How she stares at me! CAVARADOSSI vjem via ‘ride Dime, beffarda, ride. ‘At me, mocking, she laughs. *civera in Italian means both "coquette” and "screech owl". In Tosca's present excited state, I think the epithet she has in mind for the Attavanti lady is more "screech ow" than "coquette".Tosca, det I CAVARADOSSI ‘TOSCA a kwethi ‘aki ‘Ah, quegli ——occhit ‘Ah, those eyes! CAVARADOSSI wal ‘okkjo al ‘monds —_pwo star di para Qual occhio al mondo pu star di paro What eye in the world can be compared allardente ‘okkjo tuo ‘ness all'ardente occhio two nero? tothe buming eye yours black? (Co your burning black eyes?) eo kwi ke esser io sofia intero B qui che ewer mio s'aMsa— interon. Its here that thebeing mine fixes itself wholly... (Qs in your eyes that my whole being is fixed...) ‘okkja al mor svave alla, «jer ecchio al amor soave, all'ira.—flero... eyes to love tender, toanger_—_proud.. (eyes tender in love, wild in anger) wal ‘altro al mandy pw star di ‘para qual altro al mondo —_pud_star di paro ‘what other (eye) inthe world can be compared allokkjo tuo ‘nero all'occhio tuo nero? totheeye yours black? (to your black eyes?) TOSCA (rapt, leaning her head on Cavaradossi's shoulder) > kome ~—ita sai bene arte di fart Oh come In sai bene Varte di farti Oh how youknow itwell, theat of making yourself (Oh how well you know the art of making yourself loved!) (archly) ma falle ‘Kokki neti Ma... falle fgliceehi merit But... makeher the eyes black! (But..paint her eyes black!) 1s amare amare! loved! “The singular word occhio (eye) is being used in poctic sense for occhi (eyes). Nowhere is it intended to convey that Tosea has a black eye but rather two ardent black eyes!116 Tosca, Aet 1 CAVARADOSSI mia dseloza Mia gelosat My jealous one! ti tormento sentsa—'poza ti torment senza posa. Ttorment you without —_rest, Mia gelos My jealous one! TOSCA ‘Yerta'sono del perdono se tu ‘gwari. = al_—s mio. dolor Certasono del perdono set —guardi_—aal_—smio dolor Tmeertain of forgiveness if you look at my —_sullering! CAVARADOSSI mia ‘toska idolatrata ‘oni ‘Kora in te mi pjaife Mia Tosca idolatrata, ogni cosa te mipiace; My Tosca worshipped, every thing in you _ pleases me; (My Tosca whom I worship, everything in you pleases me;) ‘lita audatle = ¢ © I> 'spazima—damar Vira audace ¢ 10 spasimo—_damor! theanger bold and the spasm of love! (your bold anger and your spasms of love!) TOSCA ‘lla aykora = ta_—parola = ke—_konsola Dilla ancora. la parola. che _consola. Sayit again, the word that consoles. CAVARADOSSI mia vita s'mante —inykwjetadira'ssempre—_“florja Mia vita, amante — inquieta, dir sempre: "Flori, My life, mistress restless, will always say: "Floria, ‘love you!" a talma akkwjeta sempre tama ti dirs Ah! Lalma —acquieta, sempre “t'amo" tidiro! Ab! Thesoul calm, always "Tlove you" Tl say to you! (Calm your soul, for I will always say to you: "I love you!") TOSCA dio ‘kwante —petkkala mai tutta spettinata Dio! Quante —_peceata!_—_-M’hai tutta spettinata. God! How many sins! You've completely rumpled my nar.Tosca, Act 1 CAVARADOSSI or va ‘laffami Or ya, lasciami. Now go, leave me. TOSCA tu fina —stalsera. = stai_fermo = al_—Iavoro Tu finoa stasserastai_ fermo —al_lavoro, You till tonight stay _ steady at work, (Stay steadily at your work till this evening.) e mi prometti sia ‘kazo 9 fortuna € mi prometti, sia caso © fortuna, and you promiseme, be it chance or_—‘tuck, sia wenje ‘bjonda. «=o truma si ‘rece bionda 0 bruna, beit ates blond = or dark, a preyar mom ve'nra ‘donna ne'ssuna a pregar = non. verri donna —_—nessuna? to pray not willcome woman none? (that no woman, with either blond or dark tresses will come to pray here?) CAVARADOSSI lo'dsuro amore Logiuro, amore! swear it, my love! ‘TOSCA kkwanto—-maffrett Quanto maffrett! How you rush me! CAVARADOSSI (with gentle reproof, seeing her jealousy coming up again) arjkora ‘Ancora? Again? TOSCA (falling into his arms and giving her cheek to him) no perdona No, _perdons forgive me! CAVARADOSSI (smiling) davanti la madonna Davanti la. Madonna? In frontof the — Madonna? TOSCA © tanto bwona E tanto buona! She's so good!118 Tosca, Act 1 (They kiss. Tosca, as she goes off; once again looks at the picture.) ma ‘alle &Ai‘skki ‘nevi Ma falle gliocchi —nerit But make hereyes black! (Tosca goes off quickly. Cavaradossi remains pensive, listening to her footsteps as she leaves. Then, cautiously he opens the door and looks out. Seeing that all is calm, he runs to the chapel. Angelotti ‘appears at once behind the gate. Cavaradossi opens the gate and they affectionately shake hands.) CAVARADOSSI (fo Angelotti, who obviously has had to overhear the preceding dialogue) € 'bwona = lamia taka & buona = lamin. ——Tosca, Is good my Tosca, ma krcdente al komfe'ssor ‘nulla ‘tiene tfelats ma credente al confessor nulla tiene celato, but (being a) believer to the confessor nothing she keeps _hidden, (My Tosca is good, but being a believer, she keeps nothing hidden from her confessor.) ondio mitakkwi © ‘koza piu pridente ond'to §—mitacqui. EB cos pia pradente. wherefore Tkept quiet. It's thething more prudent. (0 1 kept quiet about you. It's the wise thing to do.) ANGELOTTI sjam ‘soli CAVARADOSSI si kwale —il'Vostro—df'zenno Sk Qual’é—il'vostro—_disegno? Yes. Whotis your plan? ANGELOTTI avnorma — ‘deAAi eventi wife di ‘stato Anorma degli eventi, ——_uscir di stato Depending onthe events, toleave the ~— state 2 star Yelato in roma mia sorella o star celato in. Roma... Mia_sorella.. or remain hidden = in.-Rome... My _ sister. ANGELOTTI si askoze um —mulljebreabbikfa'menta la ‘sotts lattare Sin ascose un mulicbre —abbigliamento la, sotto Maltaren. Yes...shehid a woman's. dress there, under the altar.‘vesti vesti, clothes, appena appena as soon as ‘velo velo, imbruni imbruni it gets dark CAVARADOSSI or Or Now a il the ‘dgovin giovin young kom)prendo ‘comprendo! Tunderstand! preigante pregante praying ‘donna donna vveritakko ventaglio... fan... indosser> indosserd Til puton wel “fare Quel fare That manner fervore fervore fervor e and Tosca, Act kewei ‘panni quel pani... those clothes... \irkospetto circospetto cireumspect ‘bbella bella beautiful in a young and beautiful woman) maveam ‘meso m'avean meso had made me in sospetts in sospetto suspicious ai ‘kwalke qualche some okkaults ‘oceulto secret amor love! amor i sorella amor di sorellat love of (a) sister! Komiprendg ‘comprendo! Now Tunderstand! Era Iwas Or ANGELOTTI tutto ‘ella. a ovata Tutto ella ha osato Everything she dared ‘onde onde in order to sotrarmi sottrarmi deliver me ‘CAVARADOSSI ‘skarpia Searpin?! Scarpa ‘kolle devote colle devote yout with bigot Bigotto Bigot a from Scarpia ‘satir> satiro salyr ‘pratike la pratiche Ia practices the Jellerato scellerato! the wicked! ke che who afffina ‘affina refines libertina libertina libertine ‘ia foia lust (Scarpia?! Bigot-satyr who refines with his devout practices his libertine lust)120 Tosca, Act I e struments al laffivo talento e strumento al Iaseivo talento and (as) instrument to his lascivious talent fa il komfessore © © il tboja fa il confessore e —il’__boial actsas the confessor and the executioner! Ja vita mi kostasse vi salve'ro La vita mi costasse, —_visalverd! ‘The life me cost, Iwill save you! (Even if it cost me my life, Iwill save you!) ma indudser fino avnotte mal stkuo Ma indugiar fino anotte © —_—_malsicuro. But waiting till night is notsafe. ANGELOTTI ‘emo el ‘sole Temo del sole! Tmafiaid of the sunt CAVARADOSSI (pointing) la keppella. mete = aun arto mal ‘kjuzo La cappella mete, = aun orto mal chiuso, ‘The chapel opens onto. a garden —_—badly closed, poi tle uy kanneto. ke va “lundsi poi ce un canneto che va_—_lungi then there's a canebrake* that goes along pei kampi ata villa pei campi a —una_mia_ villa, through the fields to a mine villa. (Ghrough the fields to a villa of mine.) ANGELOTTI me ‘nota M' nota. Tknow about it. CAVARADOSSI ‘ek la ‘kjave inmantsi ‘sera io vi raddsungo Ecco Ia chiave... Inmamzi_— sera io viraggiungo, Here's the key. Before evening ‘1 will join you, portate kom voi le ‘vesti femminili portate con voi le vesti femminili.. take with you the clothes of woman.. (take with you the women's clothes...) 5A “canebrake” isa dense thicket of eane plants.Tosca, Act I 12 (Angelotti goes to pick up the clothes left by his sister.) ANGELOTTL kio Te indossi Chiio Te indossi? Shall put them on? CAVARADOSSL per or —nom'monta il senitjero |= de'zert Per or non monta, il sentiero —& —deserto.. For now itdoesn'tmatter, the path is deserted ANGELOTTI (about to leave) addi Adio! Farewell! CAVARADOSSI (running again towards Angelotti) se urdgesse il perikgo Se urgesse il periglio, If should press the — danger, (ifdanger should be imminent) korete al pots del asarain correte all pom del giardin. run tothe well ofthe garden akkwa ene fondo = ma_a'meddz>_ ‘della ‘kana Lacqua = @ ~—nel fondo, = ma_amezzo— della canna, The water is atthe bottom, but halfway down the -—_ aperture um pittfol = 'vark>. «== ‘gwida. «adn “antro ofkuro un piceiol + vareo «= guida. «= ads antro oscuro, a small passage leads to 0 cave dark, rifudso -impenettrabile = sfkuro rifugio -impenetrabile ¢ ~—_sicuro! (a) refuge impenetrable and safe! (A cannon shot is heard. The two men look at each other, highly agitated ) ANGELOTTI il kannon —_ del kastello cannon del castello! The cannon of the castle! CAVARADOSSI skoperta la fuga scoperta In fuga! was discovered, the escape! or ‘skarpja. i swoi imi zgwintdzakha Or Searpia —isuoi sbirri ——_sguinzaglia! Now Scarpia his police spies unleashes!122 Tosca, Act I ANGELOTTI addio Addio! Farewell! CAVARADOSSI (with sudden resolution) kom voi yer staremo —alllerta Con voi verrd. —Staremo—_al'erta! With you T'lcome, We'llbe on our guard! ANGELOTTI Odo qualew Thear someone! CAVARADOSSI se fi a'ssalgom ba'ttakKa Se ciassalgon, battagliat If they attack us, battle! (If they attack us, we will fight!) (They quickly go out of the chapel. The Sacristan enters, all out of breath.) SACRISTAN (shouting) ‘somo ‘dsubil>—_ctifellentsa Sommo giubilo, _Eceellenza! Great jubilation, Exeelleney! (He looks towards the scaffolding and is surprised not to find the painter there this time either.) non tfe piu ne son dattente ‘Non c'é pit Nesom dolente!... He's not here anymore! I'm sorry!... ki ‘Kontrista um miskredente ci contrista un —_miscredente He who saddens a nonbeliever sigwadanna ——_unindudgentsa si guadagna un'indulgenza! ‘eams for himself an indulgence! (From all sides altar boys, pupils, priests and choir boys noisily run in.) ‘tutta kwi Ia kantoria —_‘prests Tutta qui Ia cantoria! Presto! All here, the choir! Quickly! “The Sacristan knows of Cavaradoss's admiration for Napoleon Bonaparte, and news of the lattr’s defeat, so he ‘thinks, would sadden him no end,Tosca, Act I PUPILS (in utmost confusion) ‘dove Dove? Where? SACRISTAN (pushing them towards the sacristy) in sagrestia In sagrestia.. Inthe sacristy. SOME PUPILS ma ke — ayvenne Ma che avvenne? But what happened? SACRISTAN nol sa'pete bonaparte — felle'rato Nol sapete? Bonaparte... scellerato. ‘Youdon' know? Bonaparte... wicked one ALL ebben ke Ebben? Che Well? What SACRISTAN fu spennats sfratfelllato e —_pjombats a beldze’ba Fu spennato, sfracellato ¢ —_ piombato a Belzebit Hewas plucked, crushed and sentplunging = to._—=Beelzebu, SOME PUPILS Ki lo'ditfe Chi Indice? Who says it? OTHER PUPILS e ‘sons e~—ffola sogne, flat Ws adream, its a fable! SACRISTAN © veridika paola or_—_ne “dsunse. la nota E veridiea —parola; or ~—_negiunse Ia notizia! Its true word; now to usarrived the news! (t's true; just now the news arrived!) ALL si festeddsi Ia vittoria Si festeggi Ia vittoria! Letitbecelebrated the victory! 123124 Tosca, Act I SACRISTAN © kwesta sera ‘gram fjakkolata E questa sera gran fiaccolata, ‘And this evening (a) big torchlight parade, vekfa di ‘gala. a ~—palattso—_farneze veglia di gala a Palazzo party of gala at Palazzo (anda festive party at the Palazzo Famesc,) ed unsippozita ‘nwova —kanitata korg. florja toska ed —_un'apposita nuova cantata_—con_Floria Tosca! and aspecially written new cantata with Floria Tosca. © nelle ‘Kjeve inn al i ppor FE nelle chiese, inn al Signor! And inthe churehes, hymns to the Lord! or via’ a vestirvi' = nom pjuKlamor Or via a vestirvi, non pit clamor! Now off to getdressed, no more uproar! via in sagrestia Via in sagrestia! OFT into (the) sacristy! ALL (laughing and shouting jovously) aa doppjo—solda te'deum —‘glaja. viva ilre ‘Ahab, — doppio —soldow.-—‘Te Deunt.. Glorial... Viva iiRe! ‘Ah, ah, double pay... Te Dewn.. Glorial.... Longlive the King! si fexteddsi la Si festegai la Letuscelebratc the tewesta era ‘gran fiakkolata Questa sera gran fiaccolatat This ‘evening (a) big — torchlight parade! SACRISTAN or via a vestirvi Or via a vestirvit Now off to gotdressed! ALL serata di gala si festeddsi la vittorja Serata di gala, si festeggi la vittoria Soirée of gala, let victory be celebrated! ‘viva il re te'deum gloria i a Ret Te Deum... Glorial Long live the King! Te Deum... Gloria!Tosca, Act I 125 (Their screaming and laughter are at their peak when an ironie voice abruptly euts them off. It is Scarpia, who suddenly bursis into the church followed by his henchman Spoletta and other police spies Athis sight all stop aghast, as if by magic.) SCARPIA un tal bakkans in ‘kjeza bel rispetts Untal —baccano—in_—chiesa!_——Bel_rispetto! Sucha din in church! Fine _ respect! SACRISTAN (stammering, frightened) cttfelientsa il gran ‘dgubilo Eccellenza, il gran giubilo.. Excellency, the great jubilation SCARPIA apprestate per te 'deum Apprestate per il Te Dewm. Make ready for the Te Deum. (AU move away at once and the Sacristan also starts to leave but Scarpia brusquely stops him.) um ‘esta Tu resta! ‘You stay! SACRISTAN (soft, frightened) ‘hom mi‘mwov Non mi muovot | won't move! a SCARPIA (10 Spoletta) e mm va ‘fruga ‘oni angolo —rakkoXi‘onpi ‘trattfa Em va, fruga ‘ogni angolo, —_raccogli —ogni_traccia! ‘And you go, search every comer, gather_-—every clue! SPOLETTA sta bene Sta bene! Very well! SCARPIA (io the other policemen, who obey) kj ‘alle ‘porte ‘sentsa dar sospetti Occhio alle porte, senza dar sospetti! Keep an eye onthe doors, without arousing suspicion! (to the Sacristan) ‘ora a tte Je tue risposte Or ate. letue _risposte. Now to you. Weigh your answers. lum pridsonjer di ‘stato fulddsi_-—pur‘ora. «= da._—_—avtel saritandselo Un prigionier di stato fugel © purora —da_—-Castel Sant'Angelo... A prisoner of state escaped only now from Castel Sant'Angelo.126 Tosca, Act T se sifidsato wi 'S'2 rifugiato qui... Hchas taken refuge here... SACRISTAN mizerikordja ‘Misericordiat Mercy! SCARPIA forse Ye agkora Forse ce ancora. Maybe he’shere still dove la kappella‘dekai——atta'vanti Dove —ta_— cappella degli Attavanti? Whereis the chapel of the Attavanti? ‘SACRISTAN ‘ekkola Fecolat. Here itis. (He goes to the chapel and finds it open.) atperta ——_arkandgeli © vnaltra —‘kjave Aperta! —Arcangeli! E —un'altra —chiavet Open! Archangels! ‘And another key! SCARPIA won indditsjs —entrjamo Buon indizio. __Entriamo. Good clue. Let's go in. (They enier the chapel and then return. Scarpia, very annoyed, has in his hands a closed fan with which he toys nervously) SCARPIA (10 himself) fu ‘grave ‘tbakko wel ‘kolpo: di kannone Fu grave sbaglio quel colpo—di_cannone. Itwas grave mistake, that _ shot of (a) cannon. (That cannon shot was a grave mistake.) spitkkato ail volo spiceato ha il volo, has taken flight, ‘preda —_prettsjoza um verttasfo preda —_preziosa.. ‘un ventaglio. rey’, aprecious one... a fan, Although the word preda in Italian means "prey" or "booty" here the connotation is really “clue”Tosca, Act I kwal ‘komplitfe il misfatts prepara Qu: complice il —_misfatto _prepard! What accomplice the misdeed _prepared! (What sort of accomplice helped prepare the misdeed!!) (He remains a few moments in thought, then looks carefully atthe fam; suddenly he sees a coat of arms on itand exclaims forcefully:) la markeza —_atta'vanti il su ‘stemma La Marehesa Attava Hsuo stemma... The Marchesa Attavantit Her coat of arms. (He looks around, examining every comer of the church. His eyes fll on the scaffolding, on the painter's ‘equipment, the painting...and the familiar face of the Attavanti woman appears to him in the face of the saint.) ilsuo ritratts ki fe ‘kwelle—_pittture Hsuo ritratto! Chi fe’ quelle. —_pitture? Her portrait! © Who did that painting? SACRISTAN il kavaljer —-kavaraidossi cavalier Cavaradossi. The Cavaliere Cavaradossi SCARPIA hi Luit He! ‘ (One of the spies who followed Scarpia into the chapel comes out of it with the basket that Cavaradosst had given to Angelotti) SACRISTAN (seeing the basket) ‘nami il painjere Numi! = l__panieret Ye Gods! The basket! SCARPIA (continuing his reflections) lui lamante di toska un wom sospetta um —_volte'rrjan Lui! L'amante di Tosca! ==‘ Un_wom_sospetto!. Un _volterriant He! Thelover of Tosca! © A man suspected! A —Voltaircan! SACRISTAN (having gone to look at the basket) ‘ywots“ywoto Vuoto? —_Vuoto! Empty? Empty! SCARPIA (seeing the policeman with the basket) ke ai ‘dett> ke fu Che hai detto? Che fu? ‘What did you say? What was it?128 Tosca, Act I SACRISTAN (taking the basket) si rittovo nella kappella ‘kwest».—_painjer Si ritrovd nella cappella questo. —_ panier. Tk was found inthe chapel this, basket. (CThis basket was found in the chapel.) SCARPIA m lo konoffi Tu —loconosei? You know it? (Do you know this basket?) ‘SACRISTAN ‘eto eil_—festo. «del pitior ma nondimeno Certo! Bit cesto del nondimeno... Certainly! It's the basket —of the nonetheless... SCARPIA ‘sputa ‘kwello ke ssai Sputa quello che sail Spitout that which you know! SACRISTAN Tolaffai—ripjena di “fibo prelitato Jo lolasciai_ ripieno —di_cibo prelibato... 1 leftit filled with choice food. il ‘prandzo del il pranzo del the dinner of the SCARPIA (attentive, looking to discover new clues) ava pran'dzats Avra pranzato! Hemust have dined! SACRISTAN ‘nella keippella non ne a'vea la Kjave: Nella cappella? Non ne avea la chiave Inthe chapel? He didn't have of it the key (Dine in the chapelt He didn't have the key to it.) ne konitava_—_pranidzar nécontava —_pranzar... nor didhe plan io (and furthermore he didn't plan to dine...) ‘disse ‘eksi stesso ondin.-—sdavea da ‘mess al ripars disse egli stesso. Ond'io—Vavea gid mess. al riparo. said he — himself. Wherefore Thad it already put in a safe place. (He said so himself. So [had already put it..in a safe place.) (He indicates where he had put the basket, then intimidated by Scarpia's severe look, he mutters to himself)