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Take an in-depth look at Tosca with the following articles and essays.
Puccini first became interested in the story of Tosca in 1889 when he wrote to the publisher Ricordi to obtain Sardou’s permission to use the story and fashion an opera because, “in this Tosca I see the opera which exactly suits me, one without excessive proportions, one which is a decorative spectacle and one which gives opportunity for an abundance of music . . .” which is to say that it did not conform to the style of “grand opera” in vogue since the 1870s.
The role of Tosca—a fiery, passionate, independent, determined woman—calls for a dramatic soprano who is also a performer with strong acting abilities. The soprano voice is the highest female voice and roles are normally written for a minimum range of two octaves above middle C to high C. Opera requires a singer to project clearly over a huge 85-piece orchestra to the back of the opera house.
Puccini’s Tosca is a romantic, tragic, political thriller. It’s also a great action opera. A list of stunt-worthy moments include: the torture and roughing up of Cavaradossi (played mainly just offstage), the extended battle of wits and force between Tosca and Scarpia, the grisly murder of Scarpia, the execution of Cavaradossi, Tosca’s escape to the top of the battlements and her subsequent suicide leap from the ramparts of Castel Sant’Angelo.
One of the interesting aspects of Puccini's Tosca, which makes it by far the most "historical" opera in repertoire, is that much of the opera is driven by the historical events which surround the action.
This production of Tosca has been generously underwritten by Delia M. Moog
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