Tosca Study Guide

Tosca
By Giacomo Puccini
Dress Rehearsal:
Thursday, April 17, 2008
7pm at Jubilee Auditorium
Sung in Italian with English translations
projected above the stage.
Calgary Opera 2007-2008 Season: Tosca Study Guide

Introduction

The music, the artistry, the grand emotion, the spectacle! This is the fantastic world of
opera. Calgary Opera welcomes you and your students to Tosca by Giacomo Puccini.

Opera is a unique and exciting art form, which combines the disciplines of music, drama,
literature, dance, visual, and technical arts like no other. Calgary Opera’s production of
Tosca is a highly theatrical rendition of Puccini’s renowned tragedy, directed by Michael
Cavanagh, and conducted by Scottish Opera’s Robert Dean.

This guide will give you the backstage tour of all that is opera - terminology, jobs, inside
info about the composers and librettists, cool activities and suggestions, and a CD of
highlights from the opera, all of which are designed to make Tosca an experience you and
your students will never forget.

In this guide you will see the many ways you can incorporate Tosca and the arts into your
classroom. A study of the performing and fine arts help students develop critical analysis
and problem solving skills, perseverance, and a drive for excellence. The creative skills
children develop through the arts carry them toward new ideas, new experiences and new
challenges. Plus, there’s nothing like the excitement and magic of a live professional
performance!

Thank you for giving your students this special opportunity.

Bonnie Gratz
Education and Outreach Coordinator
Calgary Opera
Phone 262 7286. Direct line 802 3404
bgratz@calgaryopera.com

Please feel free to reproduce any of these pages for use in the classroom,

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Calgary Opera 2007-2008 Season: Tosca Study Guide

Preparation and follow-up before, during, and after the opera

The more students are prepared for this experience, the more they will get out of it.
Knowing about the story, the life and times of the composer and the music is very
important to make their opera experience a sensational one!

Before the Opera:

• The Tosca synopsis provides a background for teachers in familiarizing students with the
story.
• Read the history of the opera, composer, librettist, and familiarize your group with opera
terms (all items in the guide can be reproduced.)
• Learn about the jobs surrounding an opera production (see the section entitled, Pulling it
together.)
• TAKE FIVE: after the students have become familiar with the above take one selection a
day to follow and discuss the characters and plot along with the musical selections
provided on the enclosed CD.
• You may assign some students to report on singing, characters, orchestra, costumes,
scenery etc. after the dress rehearsal.
• Tosca is sung in Italian with English translations projected above the stage (called
surtitles).
• Explain the location and purpose of the English translation projected above the stage.
• Make sure that meeting places and times are clear at the Jubilee Auditorium.
• Review audience expectations.

Some teachers have found it advisable to give out assigned seat tickets at a meeting place
in the hall just before a performance, as lost tickets cannot be replaced.

During the Opera: Audience Expectations

When you are seated, you may be able to see the orchestra tuning their instruments in the
orchestra pit. When the house lights dim, it’s time to:

• Turn off all cell phones, iPods, and other electronic devices.
• Think about what makes a good audience member.
• Keep movement and voices down to a minimum as this is a live dress rehearsal
performance.
• Keep food and drinks outside of the auditorium - every sound is heard in the theatre.
• Applaud when the conductor enters and bows, then again after the overture.
• After the curtain goes down and the lights go up, the intermission (usually about 20
minutes) begins. Now is the time to talk, eat (in the lobby) and use the washroom.
• It is permissible to applaud after an aria, or ensemble (if you liked it.)
• Be silent if the performance has to stop for a few moments (this is a performance, but
also a working rehearsal so it may be necessary to stop at times.)
• If you must use the washroom during the performance, please be accompanied by an
adult supervisor. The ushers will let you in again at a specific time (you may have to
wait until there is an appropriate break in the opera.)
• Applaud the cast as they take their bows after the performance - if you feel one person
did an exceptional job, it is permissible to shout “Bravo!” for a man, “Brava!” for a
woman, and “Bravi!” for the whole performance (most people stick to “Bravo!”)

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Preparation and follow-up before, during and after the opera (cont’d)

After-the-opera activities:

One of the best ways to encourage critical thinking in the arts is to encourage students’
honesty and draw out the detail of their opinions. A productive evaluation session, spoken,
written, visual or dramatized may include the following questions:

• Write or record a newspaper, radio or television review!

-Did you find the opera entertaining? moving? funny? when? why?
-Was there an outstanding performance for you? Describe.
-What parts of the opera engaged you? What parts did not? Why? Be specific.
-Did you notice a particular element of the opera? (costumes, scenery, orchestra)
-Present your review with a partner in the form of Ebert and Roeper show and
give it thumbs up or down. Write a newspaper review for your school or
community newspaper. Record a radio review or podcast about the opera.
• Write your own mini-opera about an issue of great importance to you.
• Explore these interactive websites to find out more about Tosca and Calgary opera.
-www.calgaryopera.com
-www.operaresource.com/opera_glossary.htm
• Design your own project - what do you want to know more about? (technical,
costumes, language, voices etc.)
• Become an opera star - just for fun! Play the improv opera game.
-Form a team of three to five people. Ask for a famous story or fairy tale from the
audience (ie. Little Red Riding Hood.) Re-tell and re-enact the story by singing all of
the lines, as the character would, loudly and proudly to the audience. Experiment
with different tones, pitches and volumes to create your character. Try it until every
group has had a turn at creating their own tune!
• Add to the songs of Tosca to your playlist. Download a version of Tosca on to your
iPod or MP3 player and come up with your own libretto to one of your favorite songs.
• Enter our contest! Calgary Opera loves receiving student written comments.
Please mail us your students’ pictures, reviews, or comments for use in future
brochures, programs, etc. We use no student names when we quote them and
three times a year we will put your students’ names in a great draw for Calgary
Opera swag: t-shirts, posters and treats.

Mail contest entries to:

Bonnie Gratz
Education & Outreach Coordinator
Calgary Opera
1315-7th Street SW
Calgary, AB T2R 1A5

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Calgary Opera 2007-2008 Season: Tosca Study Guide

History
In the early 1800s in Europe, one of the main sources of entertainment was theatre, and
going out to the theatre often involved watching a play by one of the most popular
dramatists of the time, Victorien Sardou. In fact, the French playwright Sardou, was so well
known and loved that several of his works were converted to operas; at the time no less
than 12 operas were created from Sardou’s popular dramas. Puccini’s Tosca, based on the
play entitled La Tosca, was one of these.

Creating Tosca
Creating Tosca was no easy task: In 1889 Puccini first saw Sardou’s La Tosca and
immediately contacted his editor, Giulio Ricordi, to ask to buy the rights to the play. When it
was finally purchased in 1893, it was given to a Luigi Illaca to develop the libretto, and to a
young composer by the name of Baron Alberto Franchetti to write the musical score. The
work went through several stages of edits, until it seemed clear to Ricordi and Illaca that
Franchetti may not have been the best match for the project; by the summer of 1895
Franchetti left the project, and after some convincing, Puccini took over. Near the same
time, Illaca joined forces with Giacomo Giacosa to complete the libretto. The opera was
completed in 1899, and Tosca was premiered in Rome on January 14, 1900 – the city within
which the opera itself is set.

Giacomo Puccini
Giacomo Puccini (pronounced jah-kaw-maw
poo-chee-nee) was born into a musical family
in 1858 in the Italian town of Lucca. Puccini
started to study music at a young age, taking
lessons with his uncle, playing organ and
taking the role of choir master in church, then
attending the Milan Conservatory as a young
adult. His love for opera first began when he
saw Verdi’s Aida – a performance he allegedly
walked about 30kms to watch. Today Puccini is
considered one of the greatest Italian
composers of all time, having created some of
the most beautiful and dramatic operas that
are now part of many opera company’s
standard repertoire. His best known works
include: La Bohème, Turandot, Madame
Butterfly, and, of course, Tosca. Some of his
arias, like Nessun Dorma from Turandot, and
O Mio Bambino Caro from Gianni Schicchi are so well known that they are now part of
modern culture. (Listen to Tracks 6 & 7 on the enclosed CD to see if you recognize either of
these pieces of music.) Puccini died in 1924 due to complications from surgery in his battle
with throat cancer.

Verismo
Verismo, which in Italian means “real” is an operatic movement that originated in the 19th
century in Italy, and this is the style in which Puccini worked. Operas in this style normally
portray very realistic depictions of everyday life, which are often violent, or cruel, and they
are commonly melodramatic. Puccini is generally accepted as the greatest verismo
composer of all times.

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The Company

Michele Capalbo (Soprano)

Floria Tosca, a celebrated singer

Marc Hervieux (Tenor)

Mario Cavaradossi, a painter

Gaetan Lapierre (Baritone)

Baron Scarpia, Chief of Police

Phillip Addis (Bass)

Cesare Angelotti, a political prisoner

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Brian McIntosh (Bass-Baritone)

A Sacristan

Steven Pitkanner (Baritone)

Sciarrone

Robert Dean
Conductor

Michael Cavanagh
Stage Director

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Tosca Synopsis

Set in Rome, in the year 1800.

Act I
Cesare Angelloti, an escaped political prisoner, seeks refuge at the church of Sant’Andrea
della Valle where his friend, a painter, and a political sympathizer, Mario Cavaradossi is
working. Entering the church, he immediately finds the key to the chapel, enters and hides
himself. Almost at the same moment, the Sacristan returns from cleaning paint brushes. He
enters into dialogue with Cavaradossi who is working on a painting of Mary Magdalene; the
Sacristan immediately recognizes the woman in the painting as a young woman that was in
the church praying devoutly earlier that week. The Sacristan is mortified by this and claims
it a sacrilege. Cavaradossi, seemingly unmoved by the Sacristan’s objections, goes on to
compare his lover’s beauty to that of the woman in his painting.

The Sacristan eventually departs and leaves Cavaradossi to his work. Once he’s gone,
Angelotti reveals himself to Cavaradossi. Cavaradossi agrees to provide him refuge. When
he hears his lover Floria Tosca approaching he tells Angelotti to hide in the chapel once
more. Tosca, a famous singer has come to invite Cavaradossi to meet her that evening. But,
Tosca is a very jealous woman, and is first angry when she enters - having sworn she heard
Cavaradossi whispering to someone - then again when she sees the painting Cavaradossi is
working on and recognizes Mary Magdalene as the blue-eyed Marchese Attavanti.
Cavaradossi assures her not to worry, and urges her to leave him to his work.

Once Tosca departs Cavaradossi calls Angelotti from the chapel once more. Cavaradossi
then discovers Angelotti’s sister is the Marchese Attavanti, and that when she came to the
church earlier she had left him a basket of women’s clothes under the chapel alter, for
Angelotti to use to disguise himself. Just then the canon sounds outside, and Cavaradossi
understands this to mean that they have discovered Angelotti’s escape. The two men
quickly flee to Cavaradossi’s villa to hide Angelotti.

The Sacristan and Scarpia enter the church to find Cavaradossi gone. However, one piece of
evidence has been left behind: a fan that Angelotti dropped, bearing Marchese Attavanti’s
crest. They conclude that Angelotti has been there and that Cavaradossi is an accomplice in
his escape. Tosca returns to the church to find that Cavaradossi is no longer there; instead,
she finds Scarpia, who immediately lets Tosca see the fan they’ve discovered. Once again,
as per Scarpia’s plan, Tosca spirals into a jealous rage. Tosca departs for the villa to
confront Cavaradossi, and Scarpia orders that she be followed. Scarpia sings a solo in
which he reveals his plan to kill Cavaradossi and have Tosca.

Act II
The setting is Farnese Palace, and a celebration is in the midst in a lower story of the palace
to celebrate a reported victory against Napoleon Bonaparte’s army. The celebrations have
begun with dancing, while everyone awaits Tosca’s arrival – she will be singing. Scarpia
asks that a note be given to Tosca upon her arrival. Spoletta returns from having followed
Tosca, and searched the villa home. He indicates that, although they weren’t able to find
Angelotti, they have captured Cavaradossi. Cavaradossi is then brought in by guards; he
refuses to answer inquiries about Angelotti’s whereabouts. Soon Tosca comes in, runs
toward Cavaradossi and embraces him.

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Cavaradossi is then taken to another room, which neither he nor Tosca realize is a torture
chamber. Scarpia begins to interrogate Tosca, realizing that she must have gone to the villa
only to find Cavaradossi plotting to conceal Angelotti - their warm embrace confirms these
suspicions. As Scarpia speaks to Tosca, Cavaradossi’s tortured cries reach their room.
Tosca, unable to listen to her lover suffer any longer, discloses Angelotti’s hiding place.
Outside the palace, at that moment they also discover that the reverse of Italy’s
celebrations has occurred - Bonaparte’s army has claimed victory.

Cavaradossi is then taken away to be executed. When Tosca asks what she can do to save
her beloved Cavaradossi, Scarpia explains that she must give her love to Scarpia in
exchange for her lover’s life. With shame Tosca agrees to the deal. As evidence to Tosca
that he will follow through on his end of the bargain, Scarpia orders his guards to fake
Cavaradossi’s assassination – “just like with Palmieri.” Tosca then asks for a safe-conduct so
she and Cavaradossi can flee the province afterward, which Scarpia agrees to sign. Once
Scarpia signs the safe-conduct, Tosca kills him.

Act III
Cavaradossi is informed by the jailer that he has an hour before his execution. He asks the
jailer if he can have a pen and paper to write a final farewell to his love, but then is so
overcome by emotion, that he can not.

Then, surprisingly, Tosca arrives at the jail, shows him the safe-conduct, and tells him that
she has killed Scarpia. She explains to Cavaradossi that they are now free – but that
Cavaradossi must partake in a mock execution first. Tosca tells him that once they have
fired the fake shots he will need to hold still and not move. They laugh about the trick they
will play.

Cavaradossi is then brought to the firing wall, and shot; as Tosca instructed, he falls
naturally, and does not move. Watching on, Tosca urges him not to move yet. Finally, once
the soldiers are out of sight, Tosca calls for Cavaradossi to stand up. When he doesn’t
move, she quickly realizes that Scarpia had ordered a real execution “just like with
Palmieri”, and that even from his grave he has had his revenge. In anguish, she jumps to
her death…

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OPERA TERMS
The word ‘opera’ is Italian, derived from the plural of the Latin opus, meaning ‘work.’ Opera,
in Italian is called opera lirica, or lyric work. ‘Lyric’ is defined as ‘appropriate song,’ so opera
lirica is a work of theatre that is set to song. Opera combines the best of all worlds: singing,
orchestra, drama, dance, sets, costumes, lighting and special effects. All of these
characteristics combine to make opera one of the most powerful art forms. Opera is just as
entertaining now as it was when it was first created. If you like a good story, you’ll like
opera. Here are a few things to help you figure it all out.

Libretto: Italian for "little book;" the words of an opera written by a librettist.

Aria: Italian for an air or song; the big number where the singer expresses feelings and
shows off the voice.

Recitative: Speech-singing where the singer chants the words in rhythm of free speech.
Used to further the plot or set up an aria. It could be considered a forerunner of rap music.

Duet: An aria built for two. Singers express feelings to each other or the audience. There
are several of these in Tosca as Mario and Floria sing together.

Ensemble: Principal singers singing mostly together, expressing similar or different

opinions and emotions.

Fach or Voice Category: German for "compartment." A voice category or range of notes
and voice quality in individual singers.

Coloratura Soprano: The highest female voice. This soprano is the 'tweety bird' of opera,
singing the highest range of notes with great flexibility.

Soprano: The voice has a high range of notes. Voice quality can be dramatic or lyric. For
example, Floria Tosca in Tosca.

Mezzo-Soprano: Mezzo-Sopranos have the middle range of the female voice.

Tenor: The highest range in the male voice. For example, the role Mario Cavaradossi in
Tosca.

Baritone: The middle range of the male voice. For example, the role of Scarpia in Tosca.

Bass: The lowest of the male voices. For example, the role of the Sacristan in Tosca.

Chorus : A group of community-based singers who provide support to the principal singers,
set the scene and create the mood for an opera. The chorus includes all voice categories. An
example of this can be heard in Track 2 of the enclosed CD.

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Pulling it Together

It takes a lot of people to produce an opera! An opera production not only involves soloists,
chorus and orchestra, but many other people involved in planning, working behind the
scenes, in the auditorium and marketing the performance. Here are some of the jobs with
brief descriptions.

Conductor: Directs all music rehearsals; conducts performances

Chorus Master: Prepares the chorus for performance
Chorus: Mainly living in Calgary - auditioned every year
Rehearsal Pianist: Plays for all rehearsals
Stage Director: Moves all performers on stage; works with characterization

Production Manager: In charge of all aspects of technical production

Head Make-Up Artist: Responsible for applying make up for all performers
Costume Designer: Design, and make costumes for all performers
Dressers: Fit and alter costumes for performers
Stage Manager: In charge of rehearsal operations for cast and crew; calls cues
for cast and crew during the performance.
Ass't Stage Manger: Assists stage manager with specific responsibilities
Set Designer: Draws a design for the set, scenery and props.
Stage Crew: Moves scenery and stage props
Lighting Designer: Devises a lighting plan, set by electrician
Electrician: Responsible for setting stage lights and electrical installations
Title Operator: Operates computer for English translations projected above the
stage
Property Master: Works with set designer/director on props; keeps them safe
Front of House Mgr: In charge of auditorium seating, lobby, ushers

Marketing Director: Responsible for marketing the opera to the public

Development Dir: Responsible for acquiring opera donors
Education Dir. Designs Education programs for the community, for schools,
study guides
Volunteer Director: Responsible for recruiting, assigning and recognizing volunteers

Web designers: Design the opera web site

Opera program: Requires layout designers, writers etc.
Executive Ass't: Assists the General Director
General Director: Responsible for all aspects of managing an opera company

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THE LIBRETTO AND THE MUSIC:

FIVE LISTENING LESSONS
MODULE ONE

The painter, Mario Cavaradossi compares the beauty of his brown-eyed love, Floria Tosca,
to the lady in his painting.

CD Track 1: Recondita Armonia

Mario Cavaradossi:
Dammi i colori… Pass me the colors…
Recondita armonia di bellezze diverse! Concealed harmony of contrasting
beauties
È bruna Floria, l'ardente amante mia... Floria, my ardent lover, is dark haired…
E te, beltade ignota And you, unknown beauty,
cinta di chiome bionde! crowned with blond hair,
Tu azzuro hai l'occhio you have blue eyes,
Tosca ha l'occhio nero! Tosca has hers black!
L'arte nel suo mistero Art, in its mysterious way,
le diverse bellezze insiem confonde: blends the contrasting beauties
together...
ma nel ritrar costei But while I'm painting her,
il mio solo pensiero, my only thought,
ah! il mio sol pensier sei tu! my only thought is of you,
Tosca sei tu! Tosca, it is of you!

MODULE TWO

CD Track 2: Tre Sbirri…Una Carrozza…

At the end of Act I, Cavaradossi and Angelotti have just left the church to flee for a hiding
place near Cavaradossi’s villa. Shortly afterward Scarpia enters the church seeking the
escaped prisoner. There he discovers evidence that Cavaradossi is helping Angelotti: one of
the pieces of evidence he’s uncovered is a fan belonging to Angelotti’s sister, Marchese
Attavanti. When Tosca comes to the church seeking her lover, Cavaradossi shows her the
fan, quickly pushing her to a state of jealous rage. Tosca leaves the church to confront
Cavaradossi. Once she leaves, Scarpia applauds himself for the seed of jealousy he has
planted, and discloses his plan to execute Cavaradossi and have Tosca.

Scarpia: Scarpia:
Tre sbirri …una carrozza… Three men…and a carriage…
Presto, seguila dovunque vada… Quick, follow wherever she goes….
Non visto…Provvedi! And take care!

Spoletta Spoletta
Sta bene. Il convegno? Yes, sir. And where will we meet?

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Scarpia Scarpia
Palazzo Farnese! Farnese Palace!
(Spoletta parte rapidamente con tre sbirri.) (Spoletta quickly leaves with three
policemen.)

Va, Tosca! Go, Tosca!

Nel tuo cuor s’annida Scarpia!...
Va, Tosca! È Scarpia che scioglie a volo
il falco della tua gelosia.
Quanta promessa nel tuo pronto sospetto!
Nel tuo cuor s’annida Scarpia!...
Va, Tosca!
Now Scarpia digs a nest within your
heart!...
Go, Tosca. Scarpia now sets loose
the roaring falcon of your jealousy!
How great a promise in your quick
suspicions!
Now Scarpia digs a nest within your heart!
Go, Tosca!

(Scarpia s’inchina e prega al passaggio del (Scarpia kneels and prays as the Cardinal
Cardinale.) passes.)

Coro
Adjutorum nostrum in nomine Domini
Qui fecit coelum et terram
Sit nomen Domini benedictum
Et hoc nunc et usquem in saeculum.
Choir
Adjutorum nostrum in nomine Domini
Qui fecit coelum et terram
Sit nomen Doini benedictum
Et hoc nunc et uaquem in saeculum

Scarpia Scarpia
A doppia mira tendo il voler, My will takes aim now at a double target,
nè il capo del ribelle è la più preziosa… Nor is the rebel’s head the bigger prize…
Ah, di quegli occhi vittoriosi Ah, to see the flame
veder la fiamma illanguir of those imperious eyes
con spasimo d’amor, grow faint and languid
fra le mie braccia illanguidir d’amor, with passion.
l’uno al capestro, For him, the rope,
l’altra fra le mie braccia… and for her, my arms…

Coro Choir
Te Deum laudamus: Te Deum laudamus:
Te Deum confitemur! Te Deum confitemur!

Scarpia Scarpia
(riavendosi come da un sogno) (recovering as though from a dream)

Tosca, mi fai dimenticare Iddio! Tosca, you make me forget God!

Coro, Scarpia Choir, Scarpia

Te aeternum Te aeternum
Patrem omnis terra venerator! Patrem omnis terra venerator!

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MODULE THREE

CD Track 3: Vissi d’Arte

Scarpia’s police have brought Cavaradossi to his execution. Scarpia offers Tosca a pass for
safe-conduct - but at a price: she must give herself to him. Tosca is torn as she tries to
make the very difficult decision. Tosca wonders what she has done to deserve all this…

Tosca:
Vissi d’arte, vissi d’amore,
non feci mai male ad anima viva!
Con man furtiva
quante miserie conobbi, aiutai.
Sempre con fè sincera,
la mia preghiera
ai santi tabernacoli salì.
Sempre con fè sincera
diedi fiori agl’altar.
Nell’ora del dolore
perchè, perchè, Signore,
perchè me ne rimuneri così?
Diedi gioielli della Madonna al manto,
e diedi il canto agli astri, al ciel,
che ne ridean più belli.
Nell’ora del dolor
perchè, perchè, Signor,
ah, perchè me ne rimuneri così?
I lived for my art, I lived for love,
I never did harm to a living soul!
With a secret hand
I relieved as many misfortunes as I knew
of.
Always with true faith
my prayer
rose to the holy shrines.
Always with true faith
I gave flowers to the altar.
In the hour of grief
why, why, o Lord,
why do you reward me thus?
I gave jewels for the Madonna’s mantle,
and I gave my song to the stars, to
heaven,
which smiled with more beauty.
In the hour of grief
why, why, o Lord,
ah, why do you reward me thus?

MODULE FOUR

CD Track 4: E Lucevan le Stelle

Cavaradossi has been told he has one hour remaining before his execution. He asks the
jailer for a pen and paper so he can write a letter to his love, Tosca. As he tries to write a
message, he is overcome by emotion, and he starts this song.

Cavaradossi:
E lucevan le stelle
ed olezzava la terra,
stridea l'uscio dell'orto,
e un passo sfiorava la rena...
Entrava ella, fragrante,
mi cadea fra le braccia...
Oh dolci baci, o languide carezze,
mentr'io fremente
la belle forme discioglea dai veli!
Svanì per sempre il sogno mio d'amore..
L'ora é fuggita, e muoio disperato!
E non ho amato mai tanto la vita!
And the stars were shining,
and the earth smelled sweet,
the garden gate scraped,
and a step brushed the sand.
She came in, fragrant,
and fell into my arms.
Oh, sweet kisses. Oh, languid caresses,
while I, trembling,
released her lovely features from their veils
My dream of love has vanished forever.
The moment is gone, and I die in despair!
And I have never loved life so much!

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MODULE FIVE

CD Track 5: O Dolci Mani

Tosca arrives at the jail just before Cavaradossi is to be executed. Tosca shows him the
safe-conduct that Scarpia has signed for them, and Cavaradossi cannot believe his eyes. He
asks what she had to do to get this from Scarpia, and she discloses that she murdered him
with her own hands.

Cavaradossi:
O dolci mani mansuete e pure,
o mani elette a bell'opre pietose,
a carezzar fanciulli, a coglier rose,
a pregar, giunte per le sventure.
dunque in vio, fatte dall'amor secure
giustizia le sue sacre armi depose?
Voi deste morte, o man vittoriose,
o dolci mani mansuete e pure!
O sweet hands pure and gentle,
O hands meant for the fair works of piety
caressing children, gathering roses,
for prayers when others meet misfortune.
Then it was in you, made strong by love,
that justice placed her secret weapons.
You dealt out death, victorious hands,
Oh sweet hand pure and gentle.

BONUS TRACKS: To celebrate the 150th anniversary of Puccini’s

birth, we’ve included two of his most famous arias on the
enclosed CD: Nessun Dorma from Turandot; and
O Mio Bambino Bello from Gianni Schicchi.

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Student Activity Games

Tosca Jeopardy

Cut these cards up and paste them upside down on your white board under the
following headings to test your knowledge of the opera pre- or post-viewing.
Attach dollar values to each question and then form teams. The team with the
largest amount is the winner of Tosca Jeopardy! Remember to answer in the form
of a question.

Characters

$100 Question

This female character is the object of Cavaradossi’s affection.

Answer - Who is Floria Tosca?

$200 Question

This sinister character will do anything he can to destroy Cavaradossi.

Answer - Who is Scarpia?

$300 Question

This political prisoner escapes from prison and flees to the church of
Sant’Andrea della Valle for refuge.

Answer- Who is Angelotti?

$400 Question

In the last act, this character declares that he has “never loved life more.”

Answer - Who is the Cavaradossi?

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$500 Question

The blue-eyed woman Cavaradossi uses as a model for his painting of Mary
Magdalene.

Answer – Who is Marchese Attavanti?

Puccini

$100 Question

The composer completed the opera for Tosca in which year?

Answer - What is 1899?

$200 Question

Puccini also composed other well-known operas. Name one.

Answer - What is Madame Butterfly, Turandot, or La Bohème?

$300 Question

These two people wrote the libretto for Puccini’s Tosca.

Answer - Who are Luigi Illaca and Giuseppe Giacosa?

$400 Question

This is the style Puccini composed in, which comes from the Italian word
“real”.

Answer - What is Verismo?

$500 Question

The opera Tosca was based on the work of this French popular playwright
of the time.
Answer - Who is Victorien Sardou?

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The Plot

$100 Question

The city where this opera is set.

Answer - What is Rome?

$200 Question

The number of acts in this opera.

Answer- What is three?

$300 Question

They are celebrating at Farnese Palace because they believe they have
been victorious against this army.

Answer - What is Napoleon Bonaparte’s army?

$400 Question

The sacristan and Scarpia find this in the church, and conclude that
Cavaradossi is hiding Angelotti.

Answer- What is a woman’s fan with Marchese Attavanti’s crest on it?

$500 Question

The song Cavaradossi sings when he believes he will never see Tosca
again.

Answer- What is “E Lucevan le Stelle?”

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NAME THAT TUNE!

Play a rousing game of opera “name that tune” using the excerpts disc provided see
if you can identify the famous aria that is played.

Increase difficulty by having team members bid on how quickly they are able to do
this!

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