The irony behind the early censure of Tosca (1900) as a “shabby littleshocker,” unworthy of Puccini’s talents in the eyes of the then musical sophisticates,is that its current overwhelming popularity does not entirely discredit thoseinitial criticisms. Based upon a trashy 1887 melodrama written by VictorienSardou as a vehicle for the flamboyant, equally overripe Sarah Bernhardt, suchcritical reactions now seem obtusely unaware of Puccini’s startlinglyprogressive originality. Toscarevitalized and added a more realistic dimension to the old opera medium.
Opera lovers long begged the point that Sardou’slurid melodrama is justified only by Puccini’s music. In truth, the composerhad his hands full with overblown source material that contained an attemptedrape, political bargaining for sexual favors, a brutal stabbing, anoffstage torture sequence, a double cross, a mock execution and religious mockery.
Yet Puccini relished the task, untroubled bySardou’s verbose, redundant dramatics, paring the unwieldy vehicle into anintoxicating combination of romantic musical drama that overreached even hisown usual sentimental treatment of conventional Italian verismo. He envisioned something more daring: an expansion ofdramatic lyricism into a more complex psychological tapestry that combined hisown unparalleled gifts for melodic invention with a more realistic contextincorporating the gritty, the vulgar and the sadistic into an airtightconstruct in which the music enhances rather than overwhelms the plot.
Today many prefer Tosca to the composer’s more sentimental works. Yet, there isno lack of melody. A recent reviewer described the music as “both refined andbrutallate romantic opulence pinned to raw action.” It includes threeworld-famous arias that have become concert staples, a beautiful love duet anda touch of political intrigue. While the music drives the story line, itdoesn’t detract from the shocking fascination of the onstage violence.
The first act begins and closes with thebrilliant Scarpia motif, overbearingly ominous with his soon to be evildominance. The first act finale enlarges and distorts that motif, the scorebecoming a riveting musical masterpiece centering the drama around Scarpia’ssexual obsession. The first act love duet and the famous tenor aria “Reconditaarmonia” flesh out the lovers’ passion, but it’s Puccini’s magnificent firstact Scarpia motif that dominates and overwhelms the religious Te Deum as hevows to defy God to possess Tosca. Scarpia’s music remains the wellspring ofthe opera throughout; he never gets the “pretty” music.
Anticipation for the second act always tends tomesmerize audiences with its promise of impending violence, no matter how oftenone has seen the opera. The wizardry of Puccini’s score is the eerie reticencewith which he anticipates the ensuing tension without revealing the terrors tocome. Will Tosca agree to sex in exchange for her lover’s life, while he isbeing tortured offstage? Will she fend off Scarpia’s groping? Will she strikeat him?
Not given to writing music for tenor torture scenes, Puccini concentrates onTosca’s growing anguish as she realizes what she is up against while her loversuffers agonies offstage. The rising chromatic beat is awesome to hear as themusic begins to heighten Tosca’s hopeless entrapment. In a recent James Bondmovie, the inevitable chase scene takes place during an over-amplified versionof this same Scarpia-Tosca scene. Even the renowned John Williams, no shabbycomposer himself, cannot match the fatalistic depths of Puccini’s far moreprofound score written a century earlier.
Perhaps the most magnificent moment in the secondact is Tosca’s realization the she must kill Scarpia. An unsettling,ominous motif, arresting in its haunting beauty, accompanies her discovery ofthe knife. She must take a human life and is a devout Catholic. Will Godforgive? Puccini’s indescribably awesome scoring captures not the horror butthe solemn inevitability of her decision. She will place candles around thebody after the deed is done, but her horror is beyond music. She speaks ratherthan sings her departure.
With Scarpia gone, the last act loses some of itsthunder, despite the great tenor aria “E lucevan le stelle,” but the executionscene is hauntingly dissonant. When Tosca leaps to her death, her last wordsare of Scarpia’s final betrayal. Fate has linked them. The drama has come fullcircle.
The Florentine Opera’s forthcoming production of Tosca (Nov. 20-22 at the Marcus Center)promises to be a winner on all counts. Florentine General Director BillFlorescu emphasizes that this production will highlight more subtle settingsand special lighting effects to focus on the psychology behind the characters’personas, giving greater impact to their more melodramatic motivations.
Heading a seasoned cast is Cynthia Lawrence, who haspreviously sung the role of Tosca with tenor Renzo Zulian, also appearingin the Milwaukeeproduction as Cavaradossi. Lawrenceis a Metropolitan Opera veteran, having sung with Pavarotti, no less, andbrings a wealth of Puccini experience to this role. Zulian, noted for hisstentorian High Cs, has sung Aidapreviously with the Florentine Opera. Baritone Todd Thomas is new to Milwaukee but hasperformed the villainous Scarpia to great reviews with the New York City Opera.It should be a great trio.
