56th SEASON
Tonight’s performance is dedicated to KSO’s founder,
Leslie Head, to celebrate his 90th year
Leslie Head was born in Hove in 1922. In the days when even the most unmusical family,
as was his, had a piano in the front room, he took lessons, soon developing a flair for
improvising the popular music of the day, and at 15 he set up a school dance band. Further
musical study was delayed by over five years spent outside London in the war as a radio
operator. Afterwards he managed, in his own words “on only the smallest amount of evidence
and a great deal of luck” to gain entry to the Guildhall School of Music. Here he focussed on
conducting and (as the orchestra was short of players) the French horn, never having played
one before. This led to various positions as an orchestral player with the Carl Rosa Opera
Company, the CBSO, the Scottish National Orchestra, and the RPO under Beecham.
By 1955 Leslie had become the Co-Founder and Conductor of Morley College Symphony
Orchestra and in the following year he founded Kensington Symphony Orchestra. In 1963
he took on the additional roles of music and artistic director of Opera Viva and, later, Pro
Opera, KSO being the house orchestra for both enterprises.
The repertoire covered was considerable by any standards. KSO was primarily, until the
1980s, a “rehearsal” orchestra—which is to say each week would focus on different
music, honing the sight-reading skills of would-be professionals and keen amateurs alike.
The concert and opera programmes themselves were then slotted into this schedule with
relatively little rehearsal.
Nevertheless, the KSO archives capture many glowing reviews of Leslie’s work from this era:
“A true Verdian to the tip of his baton.”
The Times. “His performances have an
instinctive rightness of tempo. He knows
when and how to broaden; when and
how much to press on towards a climax.
He breathes with the singer, inspiring
them to eloquent phrasing.” Financial
Times. “Leslie Head infected … KSO
with his own obvious enthusiasm of the
score … and his lively conducting made
us realise La Rondine is a work we have
neglected to our loss.” Music and Musicians.
Many leading singers including Sarah
Walker, JohnTomlinson, Elizabeth Connell
and Della Jones were provided with early
opportunities by Leslie Head, and the
list of first or revival UK performances
of opera, choral and orchestral works is
remarkable. It’s a tremendous legacy, the
spirit of which lives on today and shows
every sign of continuing.
Puccini
Tosca
An opera in three acts
Libretto by Luigi Illica and Giuseppe Giacosa
Floria Tosca: Naomi Harvey
Mario Cavaradossi: Geraint Dodd
Il barone Scarpia: Nicholas Folwell
Il Sagrestano: William Robert Allenby
Spoletta: David Newman
Cesare Angelotti: Matthew Hargreaves
Sciarrone/Il carceriere: Simon Lobelson
Un pastore: Dominic Williams
Twickenham Choral Society
Trinity Boys Choir
Kensington Symphony Orchestra (leader Alan Tuckwood)
Conductor: Russell Keable
There will be an interval of 20 minutes after Act I
Monday 14 May 2012, 7.30pm
St. John’s, Smith Square
Cover taken from Zocchi’s “View of the Tiber looking towards the Castel Sant’Angelo, Saint Peter’s in the distance”
In accordance with the requirements of Westminster City Council persons shall not be permitted to sit or stand
in any gangway. The taking of photographs and use of recording equipment is strictly forbidden without formal
consent from St. John’s. Smoking is not permitted anywhere in St. John’s. Refreshments
are permitted only in the Restaurant in the Crypt. During the interval and after the
concert the Restaurant in the Crypt is open for licensed refreshments. Please ensure
that all digital watch alarms, pagers and mobile phones are switched off.
Box office tel: 020 7222 1061. Website: www.sjss.org.uk. For details of future events at
St. John’s please send £8.00 annual subscription to the box office.
St. John’s, Smith Square Charitable Trust, registered charity no: 1045390. Registered in
England. Company no: 3028678. General Manager: Paul Davies.
TONIGHT’S PROGRAMME
GIACOMO PUCCINI
1858–1924
Tosca
Puccini was born into music.
He
represented the fifth generation of a
tradition stretching back to his namesake
and great-great-grandfather, who was
composer, organist and choirmaster at
the San Martino Cathedral in Lucca in the
early 18th century. When Giaocomo was
only five his father died, and so it was his
uncle who gave him his musical education.
By the time he reached his teens he was
making a living as a musician, playing and
teaching organ and writing pieces for his
organ pupils. Rumour has it that he also
had a subsidiary income from stealing and
selling the organ pipes; this apparently had
the side effect of forcing him to improvise
new harmonies for the music he played in
church.
At 17, he walked 30 miles from Lucca to
Giacomo Puccini
Pisa to see a production of Verdi’s Aïda.
This was a revelation: “I felt that a musical
window had opened for me,” he later said. “Almighty God touched me with his little finger and
told me to write for the theatre—mind, only the theatre.”
His mother, determined that her son should achieve the greatness that she was convinced was his
destiny, persuaded a rich uncle of hers to contribute towards the fees for him to study in Milan.
For the rest of the money, she wrote to Queen Margherita of Italy. Her melodramatic letter
emphasised her son’s position as the youngest of “a dynasty of musicians” and asked the queen
to help “a poor mother and an ambitious boy”. Her nerve paid off, and Puccini duly received a
royal scholarship of one hundred lire per month for a year—not much, but enough for him to
enroll at the Milan Conservatory in 1880.
Puccini’s career as an opera composer began three years later, when he wrote Le Villi for a
competition organised by the publisher Edoardo Sonzogno. The score was delivered at the last
minute and rejected as illegible. Puccini was a fastidious man but this did not extend to his
handwriting, which would remain notoriously bad throughout his career. Fortunately, another
publisher, Ricordi, agreed to publish the opera and organise three performances.
By the mid 1890s Puccini was established as a leading light of Italian opera, with both Manon
Lescaut and La Bohème under his belt. Even before La Bohème was completed he was planning to
adapt a play by the French dramatist Victorien Sardou, La Tosca. This had premiered in 1887
with Sarah Bernhardt in the title role. Its reviews were not good; many critics denounced it
for its lurid plot. Despite (or perhaps because of) this it rapidly became Sardou’s most popular
play. It is a melodramatic tale liberally laced with sex and sadism, and so a natural candidate for
4
TONIGHT’S PROGRAMME
transformation into an opera. Puccini had seen Bernhardt in the play in 1895, although he was
not impressed with her performance. However, unlike the authors he had previously adapted,
Sardou was still very much alive, and Puccini needed to obtain the rights to adapt the play. His
publisher Ricordi managed to negotiate an agreement with Sardou. Unfortunately Puccini then
heard that Sardou had expressed a dislike of his music and misgivings as to whether he was the
best composer to adapt La Tosca. Piqued, Puccini withdrew from the project.
He turned his attention to another play, Maeterlinck’s Pelléas et Mélisande, but discovered that the
rights had already been granted to Debussy. In the meantime, Ricordi had contracted Alberto
Franchetti to compose Tosca, and Luigi Illica had begun work on a libretto. What happened
next is a matter of dispute. Puccini apparently persuaded Franchetti that Tosca was a thoroughly
unsuitable tale for an opera due to its unsavoury plot and emphasis on rape, murder and
execution. The gullible Franchetti relinquished the project, and Ricordi promptly signed Puccini
up to write it instead. However, some commentators assert that Franchetti had already tired of
the project and relinquished it before Ricordi asked Puccini to take it on. Franchetti’s own family,
meanwhile, hold that he selflessly gave the project back to Puccini, recognising the greater talent.
Having secured the work, the composition of Tosca proved to be one of the least problematic jobs
of Puccini’s career. The premiere in January 1900 was eventful: a bomb threat was made, which
had to be taken seriously given that Queen Margherita had been invited. In the event there was
no explosion, but the performance had to be restarted after an unruly group of latecomers were
mistaken for anarchists. In the ensuing confusion the conductor, who had previously performed
in a theatre where a bomb had in fact been detonated, panicked and fled.
Once the conductor had been persuaded back the performance resumed, and the opera proved
a popular success, notwithstanding the usual mixed reviews. Its place in the repertoire has been
assured ever since. Puccini’s gift for a memorable tune and ability to handle large set pieces
is of course a factor in his popularity, but it is in his extraordinary attention to detail that the
deeper key to Tosca’s durability is to be found. Realism is inevitably a relative concept in opera,
but Puccini took great pains to produce a credible evocation of the era and setting. He travelled
to Rome to hear for himself the church bells that are evoked at the beginning of the final act,
to ensure an accurate representation of how they would sound from the Castel Sant’Angelo
where the opera’s denouement takes place. The melody of the famous Te Deum that closes Act
1 is an authentic period tune, while the cantata that Tosca is heard singing offstage at the start
of Act 2 is a careful pastiche of Giovanni Paisiello, an 18th-century composer who had taught
Puccini’s grandfather and supported the Napoleonic regime in Naples. He also took issue with
Sardou’s suggestion that Tosca’s final plunge to her death should end in the Tiber; the river,
Puccini pointed out, was on the other side of the castle.
5
TONIGHT’S PROGRAMME
Synopsis
It is June 1800. Italy at this time is not a unified nation but a collection of small states. Rome
was the centre of a republic established by Napoleon in 1798, but after the French withdrawal
from Rome and much of the rest of Italy in 1799, the Kingdom of Naples occupied the city.
Napoleon’s army has now returned to the country and engaged the Austrian Habsburgs (who
occupy North-East Italy) in battle at Marengo, in Piedmont.
Act 1. Inside the church of Sant’Andrea della Valle in Rome, 1800
Cesare Angelotti, a former consul of Rome and a political prisoner, has escaped from the prison
fortress of Castel Sant’Angelo. He enters the church of Sant’Andrea della Valle through a side
door, and hides in the private chapel of the Attavanti family (his sister is the Marchesa Attavanti).
Meanwhile, the painter Mario Cavaradossi is working on a portrait of Mary Magdalene in the
church. Cavaradossi is a republican sympathiser and an old friend of Angelotti. He banters with
an old Sacristan, and contrasts the blonde Magdalene with his dark-haired lover, the celebrated
singer Floria Tosca. The Sacristan disapproves of such talk and leaves.
Angelotti emerges and tells Cavaradossi that he is being pursued by the royalist police chief,
Scarpia. Cavaradossi promises to help Angelotti, who then hurries back into hiding as Tosca
arrives. She asks Cavaradossi supiciously what he is doing, and sings of her desire to take him
home for a night of passion. She notices that the image of the Magdalene resembles the Marchesa
and is jealous; Cavaradossi explains that he has simply observed the Marchesa at prayer in the
church, and assures Tosca of his fidelity. She leaves, and Angelotti returns. He explains that he
plans to flee disguised as a woman, wearing clothes that his sister has left in the chapel.
Angelotti’s escape has now been discovered and a cannon signal is heard from the fortress.
As Angelotti and Cavaradossi leave, the Sacristan returns with choristers, celebrating reports
that Napoleon has been defeated at Marengo. The mood changes abruptly as Scarpia enters.
He questions the Sacristan and, when he hears that Cavaradossi has been in the church, he is
suspicious. The painter must be helping Angelotti to escape, he reasons. Tosca returns, and
Scarpia suggests to her that her lover is having an affair with the Marchesa, citing a fan discarded
in the chapel as evidence that the couple must have been surprised. Tosca falls for the story and
goes off enraged to find Cavaradossi. Scarpia orders his agents to follow her, and gloats as he
sings of his intention to hang the painter and ravish his lover. A procession enters the church,
singing the Te Deum; Scarpia adds his own desires to the prayer.
Act 2. Scarpia’s apartment in the Palazzo Farnese, that evening
Scarpia is at supper. He sends a message to Tosca asking her to join him. His henchman Spoletta
arrives and tells him that Cavaradossi has been captured; the painter is brought in and questioned.
Meanwhile the voice of Tosca can be heard singing a cantata in celebration of the supposed
victory. Cavaradossi denies any knowledge of Angelotti’s whereabouts, and is taken off to be
tortured. As he is taken off Tosca arrives and he snatches a moment with her, warning her to
say nothing. Scarpia tells Tosca that she can save her lover from indescribable pain if she reveals
where Angelotti is hiding. She resists, but Cavaradossi’s cries prove too much and she tells Scarpia
what he wants to know.
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TONIGHT’S PROGRAMME
Cavaradossi is brought back. He recovers consciousness and is initially furious when he hears
that Tosca has betrayed Angelotti. Then word arrives that Napoleon has in fact won the Battle of
Marengo. Cavaradossi gives a defiant cry of “Victory!” before he is taken away. Scarpia offers
a deal to Tosca: if she gives herself to him he will free Cavaradossi. She is revolted and rejects
his advances. Outside the drums announce an imminent execution. She prays, but Scarpia is
unmoved.
News arrives that Angelotti killed himself on being discovered. Scarpia announces that Cavaradossi
will die in the morning, but tells Tosca that if she submits to him he will fake the execution. In
despair, Tosca agrees to Scarpia’s demands, and he gives instruction to Spoletta, telling him that
the “execution” will be by firing squad “as we did with Count Palmieri”. Spoletta indicates that
he understands, and leaves.
Tosca insists that Scarpia provide a document of safe conduct for her and Cavaradossi. Scarpia
agrees, and signs the document. He draws close to embrace her, but she grabs a knife from the
supper table and stabs him to death. She lights candles and places a crucifix on the body before
leaving.
Act 3. The upper parts of the Castel Sant’Angelo, early the following morning
As the church bells sound for Matins, a shepherd boy can be heard singing in the distance.
Cavaradossi is told that he has one hour to live. He refuses an offer to see a priest, but is allowed
to write a final letter. He is soon overwhelmed by memories of Tosca. Tosca enters, and shows
him the guarantee of safe conduct. She tells him that she has killed Scarpia, that the execution
will be faked, that he must feign death and that afterwards they will escape before the body is
found. Cavaradossi marvels at Tosca’s courage. They sing of the life they will have, although Tosca
has her doubts that the painter will be able to fake his death convincingly.
Cavaradossi is led away and Tosca waits impatiently as the last rites are carried out. Shots ring out,
and Cavaradossi falls to the ground (“What an actor!” exclaims Tosca). The soldiers leave, and
Tosca hurries over. She discovers that Cavaradossi is dead; Scarpia has double-crossed her. Offstage voices reveal that Scarpia’s body has been found, and that Tosca’s guilt is known. Spoletta
and the soldiers rush in, and Tosca climbs to a parapet. She declares that Scarpia will answer to
God, and throws herself to her death.
© 2012 Peter Nagle
7
LIBRETTO
ACT ONE
The Church of Sant’Andrea della Valle. On one side is the private chapel of the Attavanti family. On the other, there is a painter’s
scaffold beside a large painting covered with cloth. On it are painters’ tools and a basket.
SCENE ONE
Angelotti enters, nearly running. He is wearing prison clothes, and is dishevelled, tired, and shaking with fear. He looks around.
Angelotti Ah!… Finalmente!… Nel terror mio stolto
vedea ceffi di birro in ogni volto. Ah!… At last!… In my stupid fear I saw a policeman’s jowl in every face.
Recognising the church, he calms down and looks around more closely. He sighs with relief as he notices the column with a figure of the
Madonna and a basin of holy water.
La pila… la colonna… «A piè della Madonna» mi scrisse mia sorella… The basin… the column…
“At the base of the Madonna”
my sister wrote to me…
Searching around at the base of the column, he finds a key.
Ecco la chiave… ed ecco la Cappella! Here’s the key… and here’s the chapel!
He carefully unlocks and opens the chapel and enters, closing the gate behind him and disappearing inside.
SCENE TWO
The Sacristan enters from the rear, carrying brushes, and muttering loudly to himself.
Sagrestano
E sempre lava!…
Ogni pennello è sozzo peggio d’un collarin d’uno scagnozzo. Signor pittore… Tò!… Nessuno! Forever washing!…
Every brush is dirty
worse than an urchin’s collar.
Mister painter… There!… No one!
He looks towards the painter’s platform, and is surprised to see it empty.
Avrei giurato che
fosse ritornato il cavalier Cavaradossi.
I would have sworn that
the cavalier Cavaradossi had come back.
He puts the brushes down, climbs up, and looks at the basket.
No, sbaglio.
Il paniere è intatto. No, I’m mistaken.
The basket has not been touched.
The bell sounds for the Angelus. He kneels and prays.
Angelus Domini nuntiavit Mariae,
et concepit de Spiritu Sancto.
Ecce ancilla Domini; Fiat mihi secundum verbum tuum Et Verbum caro factum est et habitavit in nobis… The Angel of the Lord declared unto Mary,
and she conceived of the Holy Spirit.
Behold the handmaid of the Lord;
Be it done unto me according to Thy word
And the Word became flesh
and dwelt among us…
SCENE THREE
Cavaradossi enters from the side and sees the Sacristan kneeling.
Cavaradossi Che fai? What are you doing?
Sagrestano Recito l’Angelus. Reciting the Angelus.
8
LIBRETTO
Cavardossi climbs onto the platform and uncovers the paining. It is of Mary Magdalene, depicted with great blue eyes and a cascade of
blonde hair. He stands and looks at it closely.
The Sacristan turns, and shouts out in astonishment when he sees the face.
Sante ampolle! Il suo ritratto!… Holy vessels! Her picture!…
Cavaradossi Di chi? Whose?
Sagrestano Di quell’ignota che i dì passati
a pregar qui venìa… tutta devota e pia. That girl who has these past days
been coming here to pray…
with such devotion and piety.
Cavaradossi È vero. E tanto ell’era infervorata
nella sua preghiera ch’io ne pinsi,
non visto, il bel sembiante. It is true. And so fervently absorbed
was she in prayer that I could paint,
unnoticed, her lovely face.
Sagrestano (Fuori, Satana, fuori!)
(Away, Satan, away!)
Cavaradossi Dammi i colori! Give me the paints!
The Sacristan passes him the paints, and Cavaradossi paints quickly, stopping often to look at his work. The Sacristan carries on washing
brushes.
Suddenly, Cavaradossi takes out a locket with a miniature portrait, and his eyes flit between it and his own work.
Recondita armonia di bellezze diverse!… È bruna, Floria, l’ardente amante mia, Oh hidden harmony
of contrasting beauties!…
She is dark, Floria,
my true love,
Sagrestano (Scherza coi fanti e lascia stare i santi…)
(Jest with knaves and neglect the saints…)
Cavaradossi e te, beltade ignota, cinta di chiome bionde!… Tu azzurro hai l’occhio… Tosca ha l’occhio nero! and you, unknown beauty,
crowned with blonde locks!…
Your eyes are blue…
Tosca’s are black!
Sagrestano (Scherza coi fanti e lascia stare i santi!) (Jest with knaves and neglect the saints!)
Cavaradossi L’arte nel suo mistero le diverse bellezze insiem confonde: ma nel ritrar costei il mio solo pensiero, ah! il mio sol pensier sei tu, Tosca, sei tu!
Art in its mystery
blends together contrasting beauties:
but while painting that woman
my sole thought, ah!
my sole thought is you, Tosca, it’s you!
Sagrestano (Queste diverse gonne che fanno concorrenza alle Madonne mandan tanfo d’inferno. (These various women
who compete with the Madonna
give the stench of hell.
Scherza coi fanti e lascia stare i santi! Jest with knaves and neglect the saints!
Ma con quei cani di volterriani, nemici del santissimo governo, non c’è da metter voce… But to these revolutionary dogs,
enemies of the holy government,
we cannot give voice…
Scherza coi fanti e lascia stare i santi,) Jest with knaves and neglect the saints,)
pointing to Cavaradossi
(Già sono impenitenti tutti quanti! Facciam piuttosto il segno della croce.) (They are unrepentant the lot ot them!
Let us rather make the sign of the cross.)
9
LIBRETTO
to Cavaradossi
Eccellenza, vado. Cavaradossi Fa il tuo piacere! Excellency, I’m going.
Do as you wish!
Cavaradossi goes back to his painting. The Sacristan points to the basket.
Sagrestano Pieno è il paniere… Fa penitenza? The basket’s full…
Are you doing penance?
Cavaradossi Fame non ho. I’m not hungry.
The Sacristan rubs his hands ironically, and smiles with glee as he looks at the full basket. He picks it up and places it to one side.
Sagrestano Oh!… mi rincresce!… Badi, quand’esce chiuda. Oh!… I’m sorry!…
Make sure you close up when you leave.
Cavaradossi Va!… Go!…
Sagrestano Vo! I’m going!
The Sacristan exits.
SCENE FOUR
Cavaradossi continues to paint with his back to the chapel. Angelotti reappears at its gate, and puts the key in the lock, believing the
church to still be deserted. Cavaradossi turns at the creaking of the lock.
Cavaradossi Gente là dentro!… Someone in there!…
Angelotti is startled, and stops as though he is going to return to hiding, but he recognises Cavaradossi and almost cries out in joy.
Smothering it, he raises his arms to the painter: an unexpected friend.
Angelotti Voi! Cavaradossi!
Vi manda Iddio!
You! Cavaradossi!
God himself has sent you!
Cavaradossi does not recognise him and remains aloft. Angelotti moves closer, sad not to be recognised.
Non mi ravvisate! Il carcere m’ha dunque assai mutato!
You don’t recognise me!
Prison then has greatly changed me!
When Cavaradossi looks closely at Angelotti, he recognises him. He quickly drops his tools and comes down, looking about wanly as he
goes up to Angelotti.
Cavaradossi Angelotti! Il Console della spenta repubblica romana. Angelotti! The Consul
of the extinguished Roman Republic.
He runs to close the door.
Angelotti Fuggii pur ora da Castel Sant’Angelo…
I have just escaped
from Castle Sant’Angelo…
Cavaradossi Disponete di me! I am at your service!
Tosca calls from outside.
Tosca
Mario! Mario!
At her call, Cavaradossi motions to Angelotti to be quiet.
Cavaradossi Celatevi! È una donna… gelosa. Un breve istante e la rimando. Hide yourself! It’s a jealous woman.
One moment and I’ll send her away.
Tosca
Mario!
10
Mario! LIBRETTO
Cavaradossi Eccomi! Here I am!
Angelotti Sono stremo di forze, più non reggo… I’m out of strength, I can’t stand…
Angelotti looks like he’s going to collapse with weakness. Cavaradossi gets the basket from the platform and ushers Angelotti towards
the chapel with it.
Cavaradossi In questo panier v’è cibo e vino!
There’s food and wine in this basket!
Angelotti Grazie!
Thank you!
Cavaradossi Presto! Quickly!
SCENE FIVE
Tosca
Mario! Cavaradossi Son qui! Mario!
I am here!
Cavaradossi opens the door, and Tosca rushes in dramatically, pushing him aside as he tries to hold her. She looks around suspiciously.
Tosca
Perché chiuso? Why was it locked?
Cavaradossi Lo vuole il Sagrestano… The Sacristan’s wish…
Tosca
Who were you talking to?
A chi parlavi?
Cavaradossi A te!
To you!
Tosca
You were whispering other words.
Where is she?…
Altre parole bisbigliavi.
Ov’è?… Cavaradossi Chi? Who?
Tosca
Her!… That woman!…
I heard her quick steps
and a rustling of clothes…
Colei!… Quella donna!… Ho udito i lesti passi
e un fruscìo di vesti… Cavaradossi Sogni! You’re dreaming!
Tosca
Do you deny it?
Lo neghi? Cavaradossi tries to kiss her.
Cavaradossi Lo nego e t’amo!
I deny it and I love you!
Tosca
Oh! before the Madonna…
No, my Mario,
first let me pray, and place these flowers…
Oh! innanzi alla Madonna… No, Mario mio, lascia pria che la preghi, che l’infiori… Tosca goes to the statue of the Madonna and arranges the flowers she has brought, then kneels to pray. Finally, she rises to address
Cavaradossi, who is working again.
Ora stammi a sentir… stasera canto, ma è spettacolo breve. Tu m’aspetti sull’uscio della scena e alla tua villa andiam soli, soletti. Now listen… tonight I am singing,
but it’s a short show.
Wait for me at the stage door
and we’ll go alone together to your villa.
Cavaradossi Stasera?!
Tonight?!
Tosca
It is the full moon
and the nocturnal perfume of flowers…
makes the heart drunk. Aren’t you happy?
È luna piena e il notturno effluvio floreal… inebria il cor. Non sei contento? 11
LIBRETTO
She sits on the steps near to him. Cavaradossi however remains somewhat distracted, and sounds it.
Cavaradossi Tanto! So happy!
Tosca
Say it again!
Tornalo a dir! Cavaradossi Tanto! So happy!
Tosca
You say it poorly:
Lo dici male:
She climbs and sits next to him.
non la sospiri la nostra casetta che tutta ascosa nel verde ci aspetta? nido a noi sacro, ignoto al mondo inter, pien d’amore e di mister? Al tuo fianco sentire per le silenziose stellate ombre,
salir le voci delle cose!… do you not dream of our small house
that waits for us in the country?
a nest sacred to us, unknown to the world,
full of love and mystery?
At your side to listen
as through the starlit silence,
rise the voices of the night!…
Dai boschi e dai roveti, dall’arse erbe, dall’imo dei franti sepolcreti odorosi di timo, la notte escon bisbigli di minuscoli amori e perfidi consigli che ammolliscono i cuori. From the woods and from the thickets,
from the dry grass, from the depths
of shattered tombs
scented with thyme,
the night exudes whispers
of tiny loves
and false counsels
that seduce the heart.
Fiorite, o campi immensi, palpitate aure marine nel lunare albor, ah… piovete voluttà, volte stellate! Arde in Tosca un folle amor! Blossom, O wide fields,
sea winds throb in the moon’s radiance,
ah… rain down desire, you vaulted stars!
Tosca burns with a mad love!
She rests her head on his shoulder.
Cavaradossi Ah!… M’avvinci ne’ tuoi lacci mia sirena, Ah!… 1 am caught in your snares
my siren,
Tosca
Tosca’s blood boils with a mad love!
Arde a Tosca nel sangue il folle amor!
Cavaradossi mia sirena, verrò!
Or lasciami al lavoro. my siren, I will come!
But now let me work.
Tosca
You dismiss me?
Mi discacci? Cavaradossi Urge l’opra, lo sai! My work is pressing, you know that!
Tosca
I am going!
Vado!
She steps away, then turning to look at him, she sees the painting and becomes agitated.
Chi è quella donna bionda lassù? Who is that blonde woman there?
Cavaradossi La Maddalena. Ti piace? Mary Magdalene. Do you like her?
Tosca
She is too beautiful!
È troppo bella! Cavaradossi Prezioso elogio! Rare praise!
Tosca
You laugh?
12
Ridi? LIBRETTO
Quegli occhi cilestrini già li vidi… I have seen those sky-blue eyes before…
Cavaradossi Ce n’è tanti pel mondo!… There are so many in the world!…
Tosca
Wait… Wait…
Aspetta… Aspetta… She jumps up onto the platform in triumph.
È l’Attavanti!… It’s Attavanti!…
Cavaradossi Brava!… Brava!…
Tosca
Are you seeing her? Does she love you?
Do you love her?
La vedi? T’ama? Tu l’ami?
She cries, and Cavaradossi tries to calm her.
Cavaradossi Fu puro caso… By pure chance…
Tosca
Those steps and whispers…
Ah!… She was here just now!…
Quei passi e quel bisbiglio… Ah!… Qui stava pur ora!… Cavaradossi Vien via! Come away!
Tosca
Ah, the shameless flirt!
To me!
Ah, la civetta! A me! Cavaradossi La vidi ieri, ma fu puro caso… A pregar qui venne… non visto la ritrassi…
I saw her yesterday, but by pure chance…
She came here to pray…
unnoticed I painted her…
Tosca
Swear!
Giura! Cavaradossi Giuro! I swear!
Tosca
How intently she stares at me!
Come mi guarda fiso! They climb down, Cavardossi holding her hands high.
Cavaradossi Vien via! Come away!
Tosca
She talks to me, mocking, laughing.
Di me, beffarda, ride. Cavaradossi Follia! Foolishness!
Tosca
Ah, those eyes!…
Ah, quegli occhi!… Cavaradossi Qual’ occhio al mondo può star di paro all’ardente occhio tuo nero?… È qui che l’esser mio s’affisa intero… occhio all’amor soave, all’ira fiero… qual altro al mondo può star di paro all’occhio tuo nero?… What eyes in the world
can compare
with your burning black ones?…
It is they that hold my whole being…
eyes soft with love, proud with anger…
what others in the world can compare
with your black eyes?…
Tosca
Oh, come la sai bene l’arte di farti amare! Oh, how well you know
the art of making me love you!
Ma… falle gli occhi neri!… But… let her eyes be black!…
Cavaradossi Mia gelosa! My jealous one!
Tosca
Yes, I feel it… I torment you
without rest.
Sì, lo sento… ti tormento senza posa. 13
LIBRETTO
Cavaradossi Mia gelosa! My jealous one!
Tosca
I know you would forgive me,
if you knew my grief!
Certa sono del perdono, se tu guardi al mio dolor! Cavaradossi Mia Tosca idolatrata, ogni cosa in te mi piace; l’ira audace e lo spasimo d’amor! My idol Tosca,
all things in you delight me;
your storming anger
and your pulsing love!
Tosca
Say again
those consoling words…
say them again!
Dilla ancora la parola che consola… dilla ancora! Cavaradossi Mia vita, amante inquieta, dirò sempre: «Floria, t’amo!» Ah! l’alma acquieta, sempre «t’amo!» ti dirò! My life, my troubled love,
I shall always say: “I love you, Floria!”
Ah! set your soul at rest,
I shall always tell you “I love you!”
Tosca moves away in case she is won over completely.
Tosca
Dio! quante peccata! M’hai tutta spettinata! Heavens! what a sin!
You have undone my hair!
Cavaradossi Or va, lasciami! Now go, leave me!
Tosca
You stay at your work
until this evening. And promise me:
whether by chance or fortune,
whether blonde or dark,
no woman shall come here to pray!
Tu fino a stassera stai fermo al lavoro. E mi prometti: sia caso o fortuna, sia treccia bionda o bruna, a pregar non verrà… donna nessuna! Cavaradossi Lo giuro, amore!… Va! I swear it, beloved!… Go!
Tosca
How you hurry me!
Quanto m’affretti! Cavaradossi Ancora? Again?
Tosca
No—forgive me!…
No—perdona!… Cavaradossi Davanti alla Madonna?
Before the Madonna?
Tosca
She is so good!
È tanto buona! They kiss, but as she heads for the exit, she turns.
Ma falle gli occhi neri!… But let her eyes be black!…
SCENE SIX
Tosca leaves quickly. Cavaradossi remains, thoughtful, and opens the gate for Angelotti, who has heard everything.
Cavaradossi È buona la mia Tosca, ma credente al confessor nulla tiene celato,
ond’io mi tacqui. È cosa più prudente. She is good my Tosca, but trusting
her confessor she hides nothing,
so I must say nothing. It is wiser so.
Angelotti Siam soli?
Are we alone?
Cavaradossi Sì. Qual’è il vostro disegno?… Yes. What is your plan?…
Angelotti A norma degli eventi, uscir di Stato o star celato in Roma… Mia sorella… As things stand now, to flee the State
or stay in hiding in Rome… My sister…
14
LIBRETTO
Cavaradossi L’Attavanti?
Attavanti?
Angelotti
Yes,… she hid some women’s
garments there under the altar…
clothes, a veil, a fan…
When it gets dark I’ll put them on…
Sì,… ascose un muliebre
abbigliamento là sotto l’altare… vesti, velo, ventaglio… Appena imbruni indosserò quei panni… Cavaradossi Or comprendo! Quel fare circospetto e il pregante fervore in giovin donna e bella m’avean messo in sospetto di qualche occulto amor!… Or comprendo! Era amor di sorella! Now I understand!
That prudent behaviour
and that fervent prayer
in so young and beautitul a woman
had made me suspect
some secret love!…
Now I understand!
It was the love of a sister!
Angelotti Tutto ella ha osato onde sottrarmi a Scarpia, scellerato! She has dared all
to get me away from Scarpia, the villain!
Cavaradossi Scarpia?! Bigotto satiro che affina colle devote pratiche la foia libertina e strumento al lascivo talento fa il confessore e il boia! Scarpia?! That bigoted satyr who refines
through devout practice
his libertine lust
and makes the confessor and the hangman
instruments of his wantonness!
Should it cost my life, I’ll save you!
But delaying until nightfall is not safe…
La vita mi costasse, vi salverò!
Ma indugiar fino a notte è mal sicuro… Angelotti Temo del sole!… I fear the sunlight!…
Cavaradossi La cappella mette a un orto mal chiuso, poi c’è un canneto che va lungi pei campi a una mia villa… The chapel gives onto
an open garden, then there is a canefield
that goes far through fields to my villa…
Angelotti M’è nota… I know it…
Cavaradossi Ecco la chiave… innanzi sera io vi raggiungo, portate con voi le vesti femminili… Here is the key… before evening
I shall join you there, take
the woman’s costume with you…
Angelotti takes the clothes from under the altar.
Angelotti Ch’io le indossi? Should I put them on?
Cavaradossi Per or non monta, il sentiero è deserto… For now no need, the path’s deserted…
Angelotti Addio! Goodbye!
Cavaradossi runs towards him.
Cavaradossi Se urgesse il periglio, correte al pozzo del giardin. L’acqua è nel fondo, ma a mezzo della canna, un picciol varco guida ad un antro oscuro, rifugio impenetrabile e sicuro! If there’s sign of danger, go to the
garden well. There’s water at the bottom,
but half-way down, a little passage
leads to a dark room,
a safe and impenetrable hiding place!
There is the sound of a cannon being fired, and the two men look at each other, alarmed.
Angelotti Il cannon del castello!… The castle cannon!…
15
LIBRETTO
Cavaradossi Fu scoperta la fuga! Or Scarpia i suoi sbirri sguinzaglia! They’ve discovered your escape!
Now Scarpia lets loose his pack of spies!
Angelotti Addio! Goodbye!
Cavaradossi Con voi verrò.
Staremo all’erta!
I will go with you.
We must be on our guard!
Angelotti Odo qualcun! I hear someone!
Cavaradossi Se ci assalgon, battaglia! If we’re attacked, we fight!
They leave quickly through the Chapel.
SCENE SEVEN
The Sacristan runs in, shouting.
Sagrestano Sommo giubilo, Eccellenza!… Joyful news, Excellency!…
He looks towards the platform, and is surprised again not to find Cavaradossi.
Non c’è più! Ne son dolente!… Chi contrista un miscredente si guadagna un’indulgenza! He’s gone! I am sorry!…
He who aggrieves an unbeliever
earns an indulgence!
The priests, pupils and singers of the Chapel rush in from every direction.
Tutta qui la cantoria! Presto!… The whole choir is here!
Hurry!…
As the final pupils arrive, they all gather together.
Chorus
Dove? Where?
Sagrestano In sagrestia… In the sacristy…
Chorus
But what’s happened?
Ma che avvenne? Sagrestano Nol sapete? Bonaparte… scellerato… Bonaparte… You haven’t heard?
Bonaparte… the scoundrel…
Bonaparte…
Chorus
Well? What has happened?
Ebben? Che fu? Sagrestano Fu spennato, sfracellato e piombato a Belzebù! Chorus
Chi lo dice? È sogno! È fola! He was plucked, smashed
and descended to Beelzebub!
Who says so? It’s a dream! It’s nonsense!
Sagrestano È veridica parola or ne giunse la notizia! Its a true report
the news just reached us.
Chorus
Si festeggi la vittoria! Let’s celebrate the victory!
Sagrestano
E questa sera
gran fiaccolata,
veglia di gala a Palazzo Farnese, ed un’apposita nuova cantata con Floria Tosca!… E nelle chiese inni al Signor! And tonight
a mighty torch procession,
a gala evening at Farnese Palace,
and a fitting new cantata
with Floria Tosca!…
And in the churches
hymns to the Lord!
16
LIBRETTO
Or via a vestirvi, non più clamor! Via… via… in sagrestia! Now get along and dress,
no more shouting!
Go… go… into the sacristy!
Chorus
Doppio soldo… Te Deum… Gloria! Viva il Re!… Si festeggi la vittoria! Double pay … Te Deum… Gloria!
Long live the King!…
Let’s celebrate the victory!
SCENE EIGHT
When their festivities are at their height, Scarpia’s voice cuts through the uproar. He is accompanied by Spoletta and several policemen.
Scarpia Un tal baccano in chiesa! Bel rispetto! Such a hubbub in church! A fine respect!
Sagrestano Eccellenza, il gran giubilo… Excellency, the joyous news…
Scarpia
Prepare for the Te Deum.
Apprestate per il Te Deum. They all depart. Even the Sacristan tries to slip out, but Scarpia stops him.
Tu resta! You stay here!
Sagrestano Non mi muovo! I’m not moving!
Scarpia
to Spoletta
E tu va, fruga ogni angolo, raccogli ogni traccia And you go, search every corner,
gather every clue.
Spoletta
Sta bene! Very well!
Scarpia
to the other policemen
to the Sacristan
Occhio alle porte, senza dar sospetti! Ora a te! Pesa le tue risposte.
Un prigionier di stato fuggì pur ora da Castel Sant’Angelo… s’è rifugiato qui… Keep watch at the doors,
without arousing suspicion!
Now for you! Weigh your answers well.
A prisoner of state
has just escaped from Castel Sant’Angelo…
he took refuge here…
Sagrestano Misericordia! Heaven help us!
Scarpia
He may still be here.
Where is the Chapel of the Attavanti?
Forse c’è ancora. Dov’è la Cappella degli Attavanti? Sagrestano Eccola. Aperta! Arcangeli! E un’altra chiave! That is it there.
It’s open! Archangels!
And there’s another key!
Scarpia
A good sign… Let’s go in.
Buon indizio… Entriamo.
They enter the Chapel and then return. Scarpia holds a fan, which he shakes nervously.
Fu grave sbaglio quel colpo di cannone! Il mariolo spiccato ha il volo, ma lasciò una preda… preziosa… un ventaglio. Qual complice il misfatto preparò!
It was a bad mistake
that cannon shot! The scoundrel
has flown, but left behind a clue…
a valuable one… a fan.
What accomplice arranged this misdeed!
Examining the fan, he suddenly sees the coat of arms.
17
LIBRETTO
La marchesa Attavanti!… Il suo stemma… The Marchesa Attavanti!…
Her crest…
He looks around the church, and recognises the familiar features of the Marchesa in the face of Mary Magdalene.
Il suo ritratto! Chi fe’ quelle pitture? Her portrait!
to the Sacristan
Who painted that picture?
Sagrestano Il cavalier Cavaradossi… The cavalier Cavaradossi…
Scarpia
Him!
Lui! A policemen returns from the Chapel with the basket.
Sagrestano Numi! Il paniere! Heavens! The basket!
Scarpia
Him! Tosca’s lover!
A suspect character!
A revolutionary!
Lui! L’amante di Tosca! Un uom sospetto! Un volterrian! Sagrestano Vuoto?… Vuoto!… Empty?… Empty!…
Scarpia
What did you say?
What’s happened?…
Che hai detto? Che fu?… Sagrestano Si ritrovò nella cappella questo panier. They found this basket
in the chapel.
Scarpia
Have you seen it before?…
Tu lo conosci?…
Sagrestano Certo! È il cesto del pittor… ma… nondimeno… Yes! It’s the painter’s basket…
but… even so…
Scarpia
Spit out what you know.
Sputa quello che sai. Sagrestano Io lo lasciai ripieno di cibo prelibato… il pranzo del pittor!… I left it for him filled
with delicious food…
the painter’s meal!…
Scarpia
Avrà pranzato! He must have eaten!
Sagrestano
Nella cappella? Non ne avea la chiave nè contava pranzar… disse egli stesso.
Ond’io l’avea già messo… al riparo.
In the chapel?
He had no key
nor did he want to eat…
he said so himself.
So I put the basket… somewhere safe.
(Libera me Domine!)
(Deliver me Lord!)
Scarpia
(Or tutto è chiaro… la provvista del sacrista d’Angelotti fu la preda!) (Now all is clear…
the sacristan’s food
became Angelotti’s prize!)
He sees Tosca entering in a hurry.
Tosca? Che non mi veda. He hides behind a column.
18
Tosca? She must not see me.
LIBRETTO
(Per ridurre un geloso allo sbaraglio Jago ebbe un fazzoletto… ed io un ventaglio!…) (To drive a jealous lover to distraction
Iago had a handkerchief…
and I a fan!…)
SCENE NINE
Tosca runs towards the platform to find Cavaradossi, and is surprised not to see him there.
Tosca
Mario?! Mario?! Mario?! Mario?!
Sagrestano
Il pittor Cavaradossi? Chi sa dove sia? Svanì, sgattaiolò per sua stregoneria. The painter Cavaradossi?
Who knows where he is?
He’s vanished, evaporated
by his own wizardry.
Tosca
Ingannata? No…
tradirmi egli non può! Deceived? No…
he could not betray me!
Scarpia steps out and approaches the astonished Tosca. He dips his hand in the Holy Water and offers it to her as, outside, bells
summon the faithful.
Scarpia
Tosca la mano mia la vostra aspetta, piccola manina, non per galanteria, ma per offrirvi l’acqua benedetta…
Tosca my hand
awaits yours, your delicate hand,
not out of gallantry,
but to offer holy water…
Tosca touches Scarpia’s hand and crosses herself.
Tosca
Grazie, signor! Thank you, sir!
Slowly the nave fills with people of all kinds.
Scarpia
Un nobile esempio è il vostro. Al cielo piena di santo zelo attingete dell’arte il magistero che la fede ravviva! Tosca
distraught and preoccupied
Bontà vostra… You are too kind…
Scarpia
Le pie donne son rare… Voi calcate la scena… E in chiesa ci venite per pregar. Pious women are so rare…
You are on the stage…
Yet you come to church to pray.
Tosca
Che intendete?… What do you mean?…
Scarpia
E non fate come certe sfrontate And you don’t behave like some
impudent women
pointing to the portrait
che han di Maddalena
viso e costumi… e vi trescan d’amore! A noble example is yours.
Full to the heavens with holy zeal
you show a mastery of art
that restore one’s faith!
who have Mary Magdalene’s
face and clothes…
and come plotting love!
Tosca reacts immediately, and Scarpia shows her the fan.
Tosca
Che? D’amore? Le prove! What? Love? Your proof!
Scarpia
È arnese da pittore questo? Is this a painter’s tool?
Tosca
Un ventaglio? Dove stava? A fan? Where was it?
19
LIBRETTO
Scarpia
Là su quei palco. Qualcun venne certo a sturbar gli amanti ed essa nel fuggir perdè le penne!… There on that platform. Someone came
surely and disturbed the lovers
and in her flight she lost her feathers!…
Tosca
La corona! Lo stemma! È l’Attavanti! Presago sospetto!… The crown! The crest! It’s Attavanti’s!
Prophetic doubt!…
Scarpia
(Ho sortito l’effetto!) (I’ve hit the mark!)
Tosca
Ed io venivo a lui tutta dogliosa per dirgli: invan stassera il ciel s’infosca… l’innamorata Tosca è prigioniera… dei regali tripudi! And I came here to him doleful
to tell him: in vain tonight
the sky will darken…
the lovesick Tosca
is a prisoner… of the royal celebrations!
Scarpia
(Già il veleno l’ha rosa!) (Already the venom has reddened her!)
O che v’offende, dolce signora?…
Una ribelle lacrima scende sovra le belle guancie e le irrora; dolce signora, che mai v’accora? Oh what troubles you, sweet lady?…
A wayward tear runs down
your fair cheek and moistens it;
sweet lady, whatever grieves you?
Tosca
Nulla! Nothing!
Scarpia
Darei la vita per asciugar quel pianto. I would give my life
to wipe away those tears.
Tosca
Io qui mi struggo e intanto d’altra in braccio le mie smanie deride! Here I pine while he
in another’s arms mocks at my anguish!
Scarpia
(Morde il veleno.) (The poison bites.)
Tosca
Dove son? Potessi coglierli i traditori. Oh qual sospetto! Ai doppi amori è la villa ricetto! Traditor! Where are they? Could I
but catch the traitors.
Oh what suspicion!
The two loves have fled to the villa!
Traitor!
Oh mio bel nido insozzato di fango! Vi piomberò inattesa! Tu non l’avrai stasera. Giuro! Oh my fair nest sullied with mud!
I’ll descend on them unexpected!
You will not have him tonight. I swear it!
Scarpia
In chiesa! In church!
Tosca
Dio mi perdona… Egli vede ch’io piango! God pardons me… He sees me weeping!
Tosca leaves in distress with Scarpia pretending to comfort her. As she leaves, he returns and signals to Spoletta, who emerges.
Scarpia
Tre sbirri… Una carrozza… Presto… seguila dovunque vada… non visto… provvedi! Three men… A carriage …
Quick… follow
wherever she goes… unseen… take care!
Spoletta
Sta bene. Il convegno? Yes sir. Where do we meet?
Scarpia
Palazzo Farnese! Farnese Palace!
Spoletta hurries out with three policemen.
20
Va, Tosca!
Nel tuo cuor s’annida Scarpia!… È Scarpia che scioglie a volo Go, Tosca!
In your heart Scarpia builds a nest!…
It is Scarpia who lets fly
LIBRETTO
il falco della tua gelosia. Quanta promessa nel tuo pronto sospetto! the falcon of your jealousy.
Such assurance in your quick suspicions!
Scarpia kneels and prays as the Cardinal passes.
Chorus
Adjutorum nostrum in nomine Domini
Qui fecit cœlum et terram Sit nomen Domini benedictum Et hoc nunc et usque in saeculum.
Our help is in the name of the Lord
Who made heaven and earth
Blessed be the name of the Lord
Both now and forever.
Scarpia
A doppia mira tendo il voler, nè il capo del ribelle è la più preziosa. Ah di quegli occhi vittoriosi veder la fiamma illanguidir con spasimo d’amor. L’uno al capestro, l’altra fra le mie braccia… A double target
is now in my sights, nor is the rebel’s head
the bigger prize. Ah in those
imperious eyes to see the flame
grow languid with spasms of love.
One for the rope,
the other for my arms…
Chorus
Te Deum laudamus:
te Dominum confitemur!
O God we praise Thee:
we acknowledge Thee to be the Lord.
At the chant from the back of the church Scarpia starts, as though from a dream. Gathering himself, he makes the sign of the cross,
then kneels and prays devoutly.
Scarpia
Tosca, mi fai dimenticare Iddio! Tosca, you make me forget God himself!
Tutti
Te æternum Patrem
omnis terra veneratur!
Everlasting Father
all the earth worships Thee!
21
LIBRETTO
ACT TWO
Scarpia’s apartment on an upper floor of the Farnese Palace, at night. There is a table set for supper. A wide window opens on the
palace courtyard. Scarpia is at the table eating supper, stopping occasionally to reflect. He is cross and preoccupied.
SCENE ONE
Scarpia
Tosca è un buon falco!… Certo a quest’ora i miei segugi le due prede azzannano! Doman sul palco vedrà l’aurora Angelotti e il bel Mario al laccio pendere. Tosca is a good falcon!…
Surely by this time
my hounds have caught their double prey!
Tomorrow on the scaffold
the dawn will see
Angelotti and the fine Mario
hanging from a noose.
He rings a bell and Sciarrone enters.
Tosca è a palazzo?… Is Tosca in the palace?…
Sciarrone
Un ciambellan ne uscia pur ora in traccia… A chamberlain has gone
just now to find her…
Scarpia
Apri. Tarda è la notte… pointing to the window
Open it. The night is late…
An orchestra is heard from below, where the Queen of Naples is giving a party in honour of Melas.
Alla cantata ancor manca la Diva, e strimpellan gavotte. The Diva is still missing from the cantata,
and they strum gavottes.
Tu attenderai la Tosca in sull’entrata; le dirai ch’io l’aspetto finita la cantata… o meglio… You will wait for Tosca at the entrance:
tell her that I will expect her
at the end of the concert…
or better…
He writes a note.
le darai questo biglietto. give her this note.
Sciarrone leaves. Scarpia returns to the table.
22
Ella verrà… per amor del suo Mario!
Per amor del suo Mario… al piacer mio s’arrenderà. Tal dei profondi amori è la profonda miseria. Ha più forte sapore la conquista violenta che il mellifluo consenso. Io di sospiri e di lattiginose albe lunari poco m’appago. Non so trarre accordi di
chitarra, nè oròscopo di fior
né far l’occhio di pesce, o tubar come tortora! Bramo. La cosa bramata perseguo,
me ne sazio e via la getto… volto a nuova esca. Dio creò diverse beltà e vini diversi… Io vo’ She will come… for love of her Mario!
For love of her Mario… to my pleasure
she will yield. From such profound love
comes profound misery. There’s a stronger
flavour to violent conquest
than to soft surrender. For sighs
and for milky moonrises
I don’t much care.
I don’t know how to draw harmony from
guitars, nor horoscopes from flowers
nor how to look wide-eyed,
or to coo like a turtle dove!
I crave. I pursue the craved thing,
sate myself and cast it by…
seek new bait. God made diverse
beauties and diverse wines… I mean to
LIBRETTO
gustar quanto più posso
dell’opra divina!
taste as many as possible
of these divine works.
He drinks. Sciarrone returns.
Sciarrone
Spoletta è giunto. Spoletta’s arrived.
Scarpia
Entri. In buon punto! Show him in. In good time!
Sciarrone leaves to fetch Spoletta.
SCENE TWO
Spoletta enters, and Scarpia questions him without looking up.
Scarpia
O galantuomo, com’andò la caccia?… My fine man, how did the hunt go?…
Spoletta
(Sant’Ignazio m’aiuta!) Della signora seguimmo la traccia. Giunti a un’erma villetta tra le fratte perduta… ella v’entrò. N’escì sola ben presto. Allor scavalco lesto il muro del giardin coi miei cagnotti e piombo in casa… (Saint Ignatius help me!)
We kept on the lady’s trail.
She came to a lonely villa
lost in the woods…
she entered. She quickly came out alone.
At once I vaulted over
the garden wall with my dogs
and burst into the house…
Scarpia
Quel bravo Spoletta! Bravo Spoletta!
Spoletta hesitates.
Spoletta
Fiuto!… razzolo!…
frugo!…
I sniffed!… I scratched!…
I rummaged!…
Scarpia senses his hesitancy, and jumps up pale with rage.
Scarpia
Ahi! l’Angelotti?… Ahi! Angelotti?…
Spoletta
Non s’è trovato! Not to be found!
Scarpia
Ah cane! Ah traditore! Ceffo di basilisco, alle forche! Ah dog! Ah traitor!
Snout of a snake,
to the gallows!
Spoletta
Gesù! Jesus!
trying to appease him
C’era il pittor… The painter was there…
Scarpia
Cavaradossi?
Cavaradossi?
Spoletta
Ei sa dove l’altro s’asconde… Ogni suo gesto ogni accento, tradìa tal beffarda ironia, ch’io lo trassi in arresto!… And he knows where the other is hiding…
In every gesture
every word, he showed
such taunting irony,
that I placed him under arrest!…
Scarpia
Meno male! Not so bad!
Spoletta
Egli è là. He is there.
Scarpia paces, pondering. As he hears the choral cantata from the Queen’s apartment, he stops.
23
LIBRETTO
Tosca, choirSale, ascende l’uman cantico varca spazi, varca cieli, per ignoti soli empirei, profetati dai Vangeli, a te giunge o re dei re, Questo canto voli a te. A te quest’inno di gloria voli sommo Iddio della vittoria. Dio che fosti innanzi ai secoli, alle cantiche degli angeli quest’inno di gloria,
Or voli a te! Sale, ascende l’uman cantico varca spazi, varca cèli, a te giunge o re dei re! Mankind’s song leaps, soars
across space, across the heavens,
past unknown fiery stars,
prophesied by the Gospels,
it comes to you O King of Kings,
This song flies to you.
To you this hymn of glorious flights
almighty God of victory.
God who was before the centuries,
with the canticles of the angels
this hymn of glory,
Now rises to you!
Mankind’s song leaps, soars
across space, across the heavens,
it comes to you O King of Kings!
Scarpia
Bring in the Cavalier.
Fetch me Roberti and the Judge.
Introducete il Cavaliere. A me Roberti e il Giudice del Fisco. Exit Sciarrone.
SCENE THREE
Scarpia sits down again. Spoletta and four bailiffs bring in Cavaradossi; then Roberti, the executioner, the Judge and Sciarrone enter.
Cavaradossi Tal violenza!… Such violence!…
Scarpia
Cavalier, please be seated…
Cavalier, vi piaccia accomodarvi… Cavaradossi Vo’ saper… I want to know…
Scarpia
Be seated…
Sedete… Cavaradossi Aspetto. I’ll stand.
Scarpia
As you wish!
Are you aware that a prisoner…
E sia! V’è noto che un prigione… Tosca’s voice is heard through the window.
Cavaradossi La sua voce!… Her voice!…
Scarpia
… you are aware that a prisoner
escaped today from Sant’Angelo Castle?
… v’è noto che un prigione
oggi è fuggito da Castel Sant’Angelo? Cavaradossi Ignoro. I didn’t know.
Scarpia
Howvere it is reported
that you sheltered him in Sant’Andrea,
gave him food and clothing…
Eppur si pretende che voi l’abbiate accolto in Sant’Andrea, provvisto di cibo e di vesti… Cavaradossi Menzogna! Lies!
Scarpia
… and took him
to a suburban place of yours…
… e guidato ad un vostro podere suburbano… Cavaradossi Nego. Le prove?
I deny it. Your proof?
Scarpia
A faithful servant…
24
Un suddito fedele… LIBRETTO
Cavaradossi Al fatto. Chi m’accusa? I vostri birri invan frugar la villa. To the facts. Who is my accuser?
In vain your spies ransacked my villa.
Scarpia
Proof that he is hidden well.
Segno che è ben celato. Cavaradossi Sospetti di spia! Suspicions of a spy!
Spoletta
He laughed at our questions…
Alle nostre ricerche egli rideva… Cavaradossi E rido ancor. And I laugh still.
Scarpia
This is a place for tears!
Beware!
Enough now! Answer me!
Questo è luogo di lacrime! Badate! Or basta! Rispondete! Scarpia rises angrily and closes the window to shut out the singing.
Ov’è Angelotti? Where is Angelotti?
Cavaradossi Non lo so. I don’t know.
Scarpia
You deny you gave him food?
Negate avergli dato cibo? Cavaradossi Nego!
I deny it!
Scarpia
And clothes?
E vesti? Cavaradossi Nego! I deny it!
Scarpia
And refuge in your villa?
And that he is hidden there?
E asilo nella villa? E che là sia nascosto? Cavaradossi Nego!
I deny it!
Scarpia
Come, Cavalier, you must reflect:
this stubborness of yours is not wise.
A prompt confession will save great pain!
I advise you, tell me:
where then is Angelotti?
Via, Cavaliere, riflettete: saggia non è cotesta ostinatezza vostra. Angoscia grande, pronta confessione eviterà!
Io vi consiglio, dite: dov’è dunque Angelotti? Cavaradossi Non lo so. I don’t know.
Scarpia
Again,
for the last time: Where is he?
Ancor, l’ultima volta: Dov’è? Cavaradossi Nol so! I don’t know.
Spoletta
(Oh for a good whipping!)
(O bei tratti di corda!) SCENE FOUR
Tosca enters, out of breath.
Scarpia
(Eccola!) (Here she is!)
Tosca
Mario, tu qui?! Mario, you, here?!
Cavaradossi (Di quanto là vedesti,
taci, o m’uccidi!) (Of what you saw there,
say nothing, or you will kill me!)
Tosca nods.
Scarpia
Mario Cavaradossi, qual testimone il Giudice v’aspetta. Mario Cavaradossi,
the Judge awaits your testimony.
25
LIBRETTO
to Roberti
Pria le forme ordinarie… Indi… ai miei cenni…
First the usual formalities…
And then … as I shall order…
Sciarrone opens the door and leads everyone to the torture chamber, leaving just Tosca and Scarpia alone together.
Scarpia
Ed or fra noi parliam da buoni amici. Via quell’aria sgomentata… And now let’s talk like good friends.
Come now don’t look so frightened…
He indicates to Tosca to sit down.
Tosca
Sgomento alcun non ho… I have no fears…
Scarpia
La storia del ventaglio? What about the fan?
He passes behind the couch where Tosca sits and leans upon it, adopting an air of gallantry.
Tosca
Fu sciocca gelosia… That was foolish jealousy…
Scarpia
L’Attavanti non era dunque alla villa? So the Attavanti was not at the villa?
Tosca
No: egli era solo. No: he was alone.
Scarpia
Solo? Ne siete ben sicura? Alone?
Are you quite sure?
Tosca
Nulla sfugge ai gelosi.
Solo!
Nothing escapes a jealous eye.
Alone!
He sits on a chair in front of Tosca and studies her face.
Scarpia
Davver?! Indeed?!
Tosca
Solo! sì!
Alone! yes!
Scarpia
Quanto fuoco! Par che abbiate paura di tradirvi. How you protest!
Perhaps you fear you may betray yourself.
Sciarrone: che dice il Cavalier? Sciarrone: what does the Cavalier say?
Sciarrone
Nega. He denies everything.
Scarpia
Insistiamo. We shall insist.
Sciarrone leaves, closing the door. Tosca laughs.
Tosca
Oh! è inutil! Oh! it’s useless!
Scarpia
Lo vedremo, signora. We shall see, Madam.
Tosca
Dunque per compiacervi, si dovrebbe mentir? It seems that to please you, one must lie?
Scarpia
No: ma il vero potrebbe abbreviargli un’ora assai penosa… No: but the truth might shorten
an extremely painful hour for him…
Tosca
Un’ora penosa? Che vuol dir? Che avviene in quella stanza? A painful hour? What do you mean?
What are you doing in that room?
Scarpia
È forza che s’adempia la legge. It is force that carries out the law.
Tosca
Oh! Dio!… che avvien?!! Oh! God!… what’s happening?!!
Scarpia
Legato mani e piè il vostro amante ha un cerchio uncinato alle tempia, Bound hand and foot
your lover has a ring of hooked iron
at his temples,
26
LIBRETTO
che ad ogni niego ne sprizza sangue senza mercè! that at every denial make his blood spurt
without mercy!
Non è ver!
Sogghigno di demone… It isn’t true!
Leering demon…
Tosca jumps up.
Tosca
Cavaradossi lets out a long groan.
Tosca
Un gemito? Pietà! A groan? Pity!
Scarpia
Sta in voi salvarlo. It is up to you to save him.
Tosca
Ebben… ma cesate! Very well… but stop this!
Scarpia
Sciarrone, sciogliete! Stop it, Sciarrone!
Sciarrone
Tutto? Everything?
Scarpia
Tutto. Everything.
Sciarrone returns to the chamber.
Ed or la verità… And now the truth…
Tosca
Ch’io lo veda! Let me see him!
Scarpia
No! No!
Tosca gets near to the door.
Tosca
Mario! Mario!
Cavaradossi Tosca! Tosca!
Tosca Are they still torturing you?
Ti straziano ancora? Cavaradossi No—coraggio—Taci!—
Sprezzo il dolor! No—courage—Be silent!—
I scorn the pain!
Scarpia
Orsù, Tosca, parlate. Come now, Tosca, speak.
Tosca
Non so nulla! I know nothing!
Scarpia
Non vale quella prova?
Roberti, ripigliamo… Wasn’t that enough for you?
Roberti, start again…
Tosca throws herself between Roberti and the door.
Tosca
No! fermate! No! stop!
Scarpia
Voi parlerete? Will you speak?
Tosca
No! Ah! mostro! lo strazi, ah! l’uccidi! No! Ah! monster! you’re hurting him,
ah! you’re killing him!
Scarpia
Lo strazia quel vostro silenzio assai più!
You hurt him even more by your silence!
Tosca
Tu ridi… all’orrida pena? You laugh…
at this ghastly torment?
Scarpia
Mai Tosca alla scena
più tragica fu! Tosca on the stage
was never more tragic!
27
LIBRETTO
Aprite le porte che n’oda i lamenti! Open the door
so she can hear his suffering!
Spoletta opens the door and stands in the doorway.
Cavaradossi Vi sfido! I defy you!
Scarpia
Harder!
Più forte! Cavaradossi Vi sfido! I defy you!
Scarpia
Parlate… Speak now…
Tosca
Che dire? What can I say?
Scarpia
Su, via! Come, now!
Tosca
Ah! non so nulla! dovrei mentir? Ah! I know nothing!
must I lie?
Scarpia
Dite dov’è Angelotti? parlate
su, via, dove celato sta? Tell me where is Angelotti? speak up
now, come, where’s he hiding?
Tosca
No! Ah! Più non posso! Ah! che orror! Ah! cessate il martir! è troppo soffrir!
No! Ah! I can stand no more!
Ah! what horror!
Ah! stop this torture!
it’s too much to bear!
to Tosca
Cavaradossi Ahimè! Ah!
Tosca appeals to Scarpia, who signals to Spoletta to let her come to the open door where she is overwhelmed by the terrible scene
within. She cries out in anguish.
Tosca
Mario, consenti ch’io parli? Mario, will you let me speak?
Cavaradossi No!
No!
Tosca
Listen, I can bear no more…
Ascolta, non posso più… Cavaradossi Stolta, che sai?… che puoi dir?…
Fool, what do you know?…
what can you say?…
Scarpia
Shut him up!
to Spoletta
Ma fatelo tacere! Tosca is overcome and falls, prostrate on the sofa. Sobbing,, she appeals to Scarpia, who stands impassive. Spoletta, meanwhile, prays
under his breath.
Tosca
Che v’ho fatto in vita mia?! Son io che così torturate!… Torturate l’anima… What have I done to you in my life?!
It is I you torture so!…
You torture my spirit…
sì, l’anima mi torturate! yes, my spirit you are torturing!
Spoletta
Judex ergo cum sedebit
Quidquid latet apparebit
Nil inultum remanebit!
When the Judge takes his place
What is hidden will be revealed
Nothing will remain unavenged!
Scarpia orders the resumption of the torment. There is a piercing cry. Tosca leaps up and speaks quickly.
Tosca
28
Nel pozzo… nel giardino…
In the well… in the garden …
LIBRETTO
Scarpia
Là è Angelotti?… Angelotti is there?…
Tosca
Sì! Yes!
Scarpia
Basta, Roberti. Enough, Roberti.
Sciarrone re-opens the door.
Sciarrone
È svenuto! He has fainted!
Tosca
Assassino! Voglio vederlo… Murderer!
I want to see him…
Scarpia
Portatelo qui!… Bring him here!…
Sciarrone returns followed by Cavaradossi, who is carried and laid on the sofa. Tosca runs up, but on seeing her lover spattered with
blood, she covers her face in horror. Then, ashamed of her weakness, she kneels beside him, kissing him and weeping.
Sciarrone, Roberti and the Judge leave. Spoletta and the policemen remain. Cavaradossi regains consciousness.
Cavaradossi Floria! Floria!
Tosca
Beloved…
Amore… Cavaradossi Sei tu?
Is it you?
Tosca
How you have suffered
my soul!… But the just
God will punish him!
Quanto hai penalo anima mia!… Ma il giusto Iddio lo punirà! Cavaradossi Tosca, ho parlato? Tosca, did I speak?
Tosca
No, beloved…
No, amor…
Cavaradossi Davvero?… Truly not?…
Tosca
No!
No!
Scarpia
loudly, to Spoletta
Nel pozzo
del giardino.—Va, Spoletta! In the well
in the garden.—Go, Spoletta!
Spoletta leaves. Cavaradossi has heard, and rises threateningly towards Tosca, but he is too weak and falls back on the sofa.
Cavaradossi M’hai tradito! You have betrayed me!
Tosca
Mario!
Mario! He thrusts her away.
Cavaradossi Maledetta! Accursed woman!
Tosca
Mario!
Mario! Sciarrone bursts in, breathless.
Sciarrone
Eccellenza, quali nuove!… Excellency, such news!…
Scarpia
Che vuol dir quell’aria afflitta? What is the meaning of this worried look?
Sciarrone
Un messaggio di sconfitta… It is news of defeat…
Scarpia
Che sconfitta? Come? Dove? What defeat? How? Where?
Sciarrone
A Marengo… At Marengo…
29
LIBRETTO
Scarpia
Tartaruga! Tortoise!
Sciarrone
Bonaparte è vincitor… Bonaparte has won…
Scarpia
Melas… Melas…
Sciarrone
No! Melas è in fuga!… No! Melas has fled!…
Having listend intently, Cavaradossi now finds the strength to rise. Tosca tries to calm him.
Cavaradossi Vittoria! Vittoria! L’alba vindice appar che fa gli empi tremar! Libertà sorge, crollan tirranidi!
Victory! Victory!
The avenging dawn now rises
to make the wicked tremble!
Freedom rises,
the scourge of tyrants!
Tosca
Mario, be still, have pity on me!
Mario, taci, pietà di me! Cavaradossi Del sofferto martir me vedrai qui gioir… il tuo cor trema,
o Scarpia, carnefice! In my own suffering
you see me now rejoice…
your heart trembles,
O Scarpia, hangman!
Tosca
pietà! taci! non l’ascoltate!
Pietà! pietà di me!
pity! quiet! don’t listen!
Pity! have pity on me!
Scarpia
Braveggia, urla! T’affretta a palesarmi il fondo dell’alma ria! Va! Moribondo, il capestro t’aspetta! Va, va!
Boast, scream! Hurry
to reveal the depths
of your vile soul!
Go! For you die,
the hangman’s noose awaits you.
Go, go!
Portatemelo via! to the policemen
Take him away!
As Cavaradossi is dragged away, Tosca tries to hold on to him, but is pushed aside.
Tosca
Mario… con te… Mario… with you…
Scarpia
Voi no! Not you!
The door closes. Scarpia and Tosca are alone.
SCENE FIVE
Tosca
Salvatelo! Save him!
Scarpia
Io?… Voi! I? … You!
He goes to the table and sees his unfinished supper. Now he is calm and smiling.
La povera mia cena fu interrotta. My poor supper was interrupted.
Così accasciata?… Via, mia bella signora, sedete qui. Volete che cerchiamo
insieme il modo di salvarlo? So downhearted?… Come, my fair
lady, sit here. Shall we try to find
together a way to save him?
Still smiling, he sits down and motions to her to do the same..
30
E allor… sedete… e favelliamo. E intanto un sorso. È vin di Spagna… And so… sit down… and we shall talk.
And first a drink. It’s Spanish wine…
LIBRETTO
Un sorso per rincorarvi. A sip to hearten you.
Tosca sits facing him, then staring at him, contemptuously asks:
Tosca Quanto?
How much?
Scarpia
Quanto? How much?
Tosca
Il prezzo!… The price!…
Già… Mi dicon venal, ma a donna bella non mi vendo
a prezzo di moneta… no! Se la giurata fede devo tradir…
ne voglio altra mercede. Quest’ora io l’attendeva! Già mi struggea l’amor della diva! Ma poc’anzi ti mirai qual non ti vidi mai! Quel tuo pianto era lava ai sensi miei e il tuo sguardo che odio in me dardeggiava, mie brame inferociva!… Agil qual leopardo t’avvinghiasti all’amante Ah! In quell’istante t’ho giurata mia!… Mia! Yes… They say that I am venal,
but to beautiful women I don’t sell myself
for a price in money… no!
If I am to betray my oath of office…
I want another reward.
I have waited for this hour!
Already I burned
with passion for the Diva!
But tonight I saw you
as I had never seen you before!
Your tears were lava
to my senses and your look
of pure hatred towards me,
fuelled my longing!…
Supple as a leopard
you entrapped your lover
Ah! In that instant
I vowed you would be mine!…
Mine!
Scarpia laughs.
Scarpia
Scarpia rises and stretches his arms towards Tosca, who has been listening motionless. She leaps up and hides behind the sofa.
Tosca
Ah!
Ah!
Scarpia Sì, t’avrò!… Yes, I will have you!…
Tosca
Ah! Piuttosto giù mi avvento! Ah! I’ll throw myself out first!
Scarpia
In pegno il Mario tuo mi resta!… I hold your Mario in my power!…
Tosca
Ah! miserabile… l’orribil mercato! Ah! wretch…
ghastly bargain!
The idea of appealing to the Queen suddenly occurs to Tosca, and she runs towards the door.
Scarpia
Violenza non ti farò. Sei liberai. Va pure. Ma è fallace speranza:… la Regina farebbe grazia ad un cadavere! I’m not going to hurt you. You are free.
So go.
But it’s a false hope:… the Queen
would merely grant pardon to a corpse!
Glaring at him, Tosca drops on the sofa. She looks at him with the utmost contempt.
Come tu m’odii! How you detest me!
Tosca
Ah! Dio!… Ah! God!…
Scarpia
Così ti voglio! Even so I want you!
31
LIBRETTO
Tosca
Non toccarmi, demonio! T’odio, t’odio, abbietto, vile! Don’t touch me, demon!
I hate you, hate you, fiend, villain!
Scarpia
Che importa?! Spasimi d’ira… spasimi d’amore! What does it matter?!
Spasms of wrath… spasms of passion!
Tosca
Vile! Villain!
Scarpia
Mia! You are mine!
Tosca
Aiuto! Help!
The rolling of drums is heard, getting nearer and then farther.
Scarpia
Odi? È il tamburo. S’avvia. Guida la scorta ultima ai condannati. Il tempo passa!
Do you hear?
It is the drum. It’s happening. It leads
the last escort of the condemned.
Time passes!
Sai… quale oscura opra
laggiù si compia?
Là… si drizza un patibolo!… Al tuo Mario, per tuo voler, non resta che un’ora di vita. Do you know… what dark work
is being done down there?
There… they’re erecting a gallows!…
Your Mario,
by your wish, has but one hour to live.
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 agli altar, I lived for art, I lived for love,
never did I harm a living creature!…
With a furtive hand
whatever misery I found, I helped…
Always in true faith
my prayers
rose to the holy chapels.
Always in true faith,
I brought flowers to the altars,
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 Signore, perchè me ne rimuneri così? In this hour of sorrow
why, why Lord,
why do you repay me thus?
I brought jewels
for the Madonna’s mantle,
and sung songs to the stars,
to heaven, that they shine more brightly.
In this hour of sorrow
why, why Lord,
why do you repay me thus?
She kneels before Scarpia.
Scarpia
Risolvi!
Decide!
Tosca
Mi vuoi supplice ai tuoi piedi?
Vedi, le man giunte io stendo a te! Ecco, vedi, e mercè d’un tuo detto, vinta, aspetto… Do you see me kneeling at your feet?
See, I extend my clasped hand to you!
Here, see,
at the mercy of your word,
vanquished, I beg…
Scarpia
Sei troppo bella, Tosca, e troppo amante,
You are too beautiful, Tosca,
and too loving,
32
LIBRETTO
Cedo. A misero prezzo tu, a me una vita, io, a te chieggo un’istante!
I yield. At a paltry price
you, from me a life,
I, from you beg an instant!
Tosca rises, revolted.
Tosca
Va! Va! Mi fai ribrezzo! Va! Va!
Go! Go! You disgust me! Go! Go!
There is a knock at the door.
Scarpia
Chi è là? Who’s there?
Spoletta enters, breathless.
Spoletta
Eccellenza, l’Angelotti al nostro giungere s’uccise! Excellency, Angelotti
killed himself when we arrived!
Scarpia
Ebben lo si appenda morto
alle forche! E l’altro prigionier? Then have him hanged dead
from the gibbet! And the other prisoner?
Spoletta
Il cavalier Cavaradossi? È tutto pronto, Eccellenza! The cavalier Cavaradossi?
Everything is ready, Excellency!
Tosca
(Dio m’assisti!) (God help me!)
Scarpia
to Spoletta
to Tosca
Aspetta.
Ebbene?
Wait.
Well?
Tosca nods. Ashamed, she weeps and hides her face.
to Spoletta
Tosca
interrupting
Scarpia
to Tosca
Occorre simular. Non posso far grazia aperta. Bisogna che tutti abbian per morto il cavalier. We must pretend. I cannot openly
pardon him. It’s necessary that everyone
hears of the Cavalier’s death.
Quest’uomo fido provvederà. This trusted man of mine will see to it.
Odi… Ma libero all’istante lo voglio! Listen…
But I want him freed this instant!
Tosca
Chi m’assicura? How can I be sure?
Scarpia
L’ordin ch’io gli darò voi qui presente. Spoletta: chiudi. By the orders I give him with you here.
Spoletta: close the door.
Ho mutato d’avviso… Il prigionier sia fucilato. I have changed my mind…
The prisoner shall be shot.
Tosca starts with terror.
Attendi… Wait a moment…
He gives Spoletta a hard, significant look, and Spoletta nods in reply that he has understood his meaning.
Come facemmo del conte Palmieri… As we did with Count Palmieri…
Spoletta
Un’uccisione… An execution…
33
LIBRETTO
Scarpia
… simulata!… Come avvenne del Palmieri! Hai ben compreso? … a fake one!… As
happened with Palmieri!
Do you understand?
Spoletta
Ho ben compreso. I understand.
Scarpia
Va. Go.
Tosca
Voglio avvertirlo io stessa. I want to warn to him myself.
Scarpia
E sia. As you wish.
Le darai passo. Bada: all’ora quarta… Let her pass. Remember:
at four o’clock.
Spoletta
Sì. Come Palmieri… Yes. Like Palmieri…
to Spoletta
Spoletta leaves, and as his footsteps fade, Scarpia’s demeanour changes, and he advances on Tosca flushed with passion.
Scarpia
Io tenni la promessa… I have kept my promise…
Tosca
Non ancora. Voglio un salvacondotto onde fuggir dallo Stato con lui. Not yet.
I want a safe conduct so that I can flee
the State with him.
Scarpia
Partir dunque volete? So you want to leave?
Tosca
Sì, per sempre! Yes, for ever!
Scarpia
Si adempia il voler vostro. Your wish will be granted.
He goes to the desk and starts to write.
E qual via scegliete? And which road do you choose?
Tosca goes to the table to take the glass of wine that Scarpia has poured: but as she lifts it, her eye falls on a pointed knife lying on the
table. Seeing that Scarpia is absorbed in writing, and still answering his questions and watching him, she carefully reaches for it.
Tosca
La più breve! The shortest!
Scarpia
Civitavecchia?
Civitavecchia?
Tosca
Sì. Yes.
She manages to take the knife. Still watching, she hides it behind her as she leans on the table. He finishes making out the pass, puts
his seal on it and folds it. He then opens his arms and again advances on Tosca.
Scarpia
Tosca, finalmente mia!… Tosca, now you are mine at last!…
His cry of lust turns to one of pain as Tosca stabs him in the chest with the knife.
Maledetta! Accursed one!
Tosca
Questo è il bacio di Tosca! This is the kiss of Tosca!
Staggering, Scarpia still advances, his arm stretches towards her. Tosca avoids him, but becomes trapped between him and the table. As
he reaches her, she pushes him back and he crashes to the floor, shrieking in a stifled voice.
Scarpia
Aiuto! Muoio! Help! I am dying!
She watches him struggle, helplessly.
34
Soccorso! Muoio! Help! I die!
LIBRETTO
Tosca
Ti soffoca il sangue? Ah! E ucciso da una donna! M’hai assai torturata!… Odi tu ancora? Parla!… Guardami!… Son Tosca!… o Scarpia! Is your blood choking you?
Ah! And killed by a woman!
You tortured me enough!…
Can you still hear? Talk!… Look at me!…
I am Tosca!… O Scarpia!
Scarpia collapses.
Scarpia
Soccorso, aiuto! Muoio! Help, help!
I die!
Tosca bends over him.
Tosca
Muori dannato! Muori, muori! Die damned one! Die, die!
Scarpia remains motionless.
È morto! Or gli perdono! E avanti a lui tremava tutta Roma! He is dead! Now I pardon him!
And before him all Rome trembled!
With her eyes still fixed on Scarpia’s body, Tosca goes to the table and washes her fingers, then goes to the mirror to straighten her hair.
With a shudder, she takes the pass from his clenched fist and hides it in her clothing. She puts the candle out, and is about to leave
when her conscience gets the better of her. She relights the candle from the one on the desk, and places the two of them either side of
Scarpia’s head. Then seeing a crucifix on the wall, she reverently takes it down and lays it on Scarpia’s chest, before finally creeping out
of the doorway.
35
LIBRETTO
ACT THREE
The top of Castel Sant’Angelo. There is a desk with a large registry book, a crucifix and a lamp, and a small stairway up to the ramparts.
The night gradually lifts to the grey pre-dawn light, as church bells toll for matins. The voice of a passing shepherd is heard.
SCENE ONE
Un pastore
Io de’ sospiri, Te ne rimanno tanti Pe’ quante foje Ne smoveno li venti. Tu me disprezzi Io me ciaccoro, Lampene d’oro Me fai morir! I give you sighs,
There are as many
As there are leaves
Moving in the wind.
You may scorn me
My heart is sick,
Lamp of gold
I die for you!
A jailer comes up the stairs from below and lights the lamp. He sits and waits, sleepy. Soon, a troop of guards bring in Cavaradossi. The
Sergeant hands a note to the jailer, who reads it, then enters details in the registry book as he questions Cavaradossi.
SCENE TWO
Carceriere Mario Cavaradossi?
Mario Cavaradossi?
Cavaradossi nods. The jailer hands the pen to the Sergeant, who signs the register and then leaves down the stairs with the guards.
A voi. to Cavaradossi
Vi resta un’ora… Un sacerdote i vostri cenni attende. For you.
You have one hour…
A priest awaits your call.
Cavaradossi No. Ma un’ultima grazia io vi richiedo…
No. But I ask a last favour of you…
Carceriere Se posso… If I can…
Cavaradossi Io lascio al mondo una persona cara. Consentite ch’io le scriva un sol motto. I leave in the world
one person dear to me. Permit me
to write her a few lines.
All that remains of my possessions is
this ring…
If you will promise to give her my
last farewell, it is yours…
Unico resto di mia ricchezza è questo anel… Se promettete di consegnarle il mio ultimo addio, esso è vostro… The jailer hesitates, but accepts. He motions to Cavaradossi to sit at the table, where he begins to write.
Carceriere Scrivete.
Write.
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 le belle forme disciogliea dai veli! Svanì per sempre il sogno mio d’amore… And the stars shone…
and the earth was perfumed…
the gate to the garden creaked…
and a step rustled the sand…
She entered, fragrant,
fell into my arms…
Oh! sweet kisses, O gentle caresses,
as I trembling
exposed her beauty from her veils!
Vanished forever is my dream of love…
36
LIBRETTO
l’ora è fuggita… e muoio disperato! E non ho amato mai tanto la vita!…
the hour has fled…
and I die desperate!
And never have I loved
life so much!…
He puts his head in his hands and starts to cry,
SCENE THREE
Spoletta appears at the top of the stairs with the Sergeant, Tosca following them. Spoletta points out Cavarodossi to her, then leaves with
the jailer. Tosca lifts Cavaradossi’s head, and he jumps up, amazed. She shows him the safe conduct, and he reads it.
Cavaradossi Franchigia a Floria Tosca… Immunity for Floria Tosca …
Both
… e al cavaliere che l’accompagna. … and for the cavalier accompanying her.
Tosca
Sei libero! You are free!
Cavaradossi Scarpia!… Scarpia che cede?
La prima sua grazia è questa… Scarpia!… Scarpia has yielded?
This is his first act of clemency…
Tosca
And his last!
E l’ultima! Cavaradossi Che dici? What are you saying?
Tosca
Your blood or my love
he wanted… In vain I pleaded and cried.
In vain, wild with horror,
I appealed to the Madonna
and to the Saints…
The evil monster told me: Already
to the skies the gallows
stretch their arms!
The drums rolled…
He laughed, the evil monster… laughed…
ready to clutch his prey!
“Be mine!”—Yes.—To his lust
I promised myself. There at hand
glimmered a blade…
He wrote out the liberating pass,
and came for his horrible embrace…
I planted that blade in his heart.
Il tuo sangue o il mio amore volea… Fur vani scongiuri e pianti. Invan, pazza d’orror, alla Madonna mi volsi e ai Santi…
L’empio mostro dicea: Già nei cieli il patibol le braccia leva!
Rullavano i tamburi…
Rideva, l’empio mostro… rideva… già la sua preda pronto a ghermir! «Sei mia!»—Sì.—Alla sua brama mi promisi. Lì presso luccicava una lama… Ei scrisse il foglio liberator, venne all’orrendo amplesso… Io quella lama gli piantai nel cor. Cavaradossi Tu!?… di tua man l’uccidesti!—tu pia, tu benigna,—e per me!
You!?… with your own hand
you killed him!—you who are so devout,
so gentle,—and for me!
Tosca
My hands were covered with his blood!
N’ebbi le man tutte lorde di sangue! Cavaradossi takes her hands in his own.
Cavaradossi O dolci mani mansuete e pure, o mani elette a bell’opre e pietose, a carezzar fanciulli, a coglier rose, a pregar, giunte per le sventure, dunque in voi, fatte dall’amor secure, giustizia le sue sacre armi depose? O sweet hands gentle and pure,
O hands meant for good works and piety,
caressing children, gathering roses,
for prayers, given at others misfortune,
then it was in you, made strong by love,
that justice placed her sacred weapons?
37
LIBRETTO
Voi deste morte, o man vittoriose, o dolci mani mansuete e pure!… You dealt out death, O victorious hands,
O sweet hands gentle and pure!…
Tosca
Senti… l’ora è vicina; io già raccolsi oro e gioielli…
una vettura è pronta. Ma prima… ridi amor… prima sarai fucilato… per finta… ad armi scariche… Simulato supplizio. Al colpo… cadi.
I soldati sen vanno… e noi siam salvi! Poscia a Civitavecchia… una tartana… e via pel mar! Listen… the hour is near; I have already
collected my gold and jewels…
a carriage is ready.
But first… laugh my love… first you will
be shot… in pretence…
with unloaded guns… Mock punishment.
At the shot… fall down.
The soldiers leave… and we are safe!
Afterwards to Civitavecchia… a ship…
and away by sea!
Cavaradossi Liberi! Free!
Tosca
Free!
Liberi! Cavaradossi Via pel mar! Away by sea!
Tosca
Who suffers in the world any more?
Do you smell the perfume of the roses?…
Don’t you feel that all things
await the sun enamoured?…
Chi si duole in terra più?
Senti effluvi di rose?… Non ti par che le cose aspettan tutte innamorate il sole?… Cavaradossi Amaro sol per te m’era il morire, Da te la vita prende ogni splendore, all’esser mio la gioia ed il desire nascon di te come di fiamma ardore. Io folgorare i cieli
e scolorire vedrò
nell’occhio tuo rivelatore, e la beltà delle cose più mire avrà sol da te voce e colore.
Only for you was death bitter for me,
From you life takes every splendour,
for my being joy and desire
are born in you like intense flames.
I will see the lightening of the heavens
and their darkening
through your revealing eyes,
and the beauty of more wonderful things
will have from you alone
their voice and colour.
Tosca
The love that came to you to save your life
shall be our guide on earth,
and our pilot on the seas…
and make the world dreamy to our eyes.
Until together to the celestial spheres
we will disperse, as high above the sea
at sundown, clouds fade!…
Amor che seppe a te vita serbare ci sarà guida in terra, e in mar nocchier…
e vago farà il mondo riguardare. Finché congiunti alle celesti sfere dileguerem, siccome alte sul mare a sol cadente, nuvole leggere!…
Back to reality, Tosca looks about uneasily.
E non giungono… They still don’t come…
Bada!… al colpo egli è mestiere che tu subito cada… Be careful!… at the shot it’s vital
that you fall down at once…
Cavaradossi Non temere che cadrò sul momento… e al naturale. Have no fear
I’ll fall at that moment… and naturally.
Tosca
But be careful not to hurt yourself!
With my stage experience
I know the movement…
38
Ma stammi attento di non farti male! Con scenica scienza io saprei la movenza… LIBRETTO
Cavaradossi Parlami ancor come dianzi parlavi, è così dolce il suon della tua voce! Speak to me again as you spoke before,
so sweet is the sound of your voice!
Tosca
Together in exile
we shall bear our love through the world,
harmonies of colour,…
Uniti ed esulanti diffonderan pel mondo i nostri amori, armonie di colori,… Cavaradossi Armonie di canti diffonderem… We’ll spread harmonies of song…
Both
Trionfal… di nova speme l’anima freme in celestial crescente ardor… Ed in armonico vol già l’anima va all’estasi d’amor. Triumphant… with new hope
the soul trembles in heavenly
ardour increasing…
And in harmonious flight
already the spirit soars
to the ecstasy of love.
Tosca
Gli occhi ti chiuderò con
mille baci
e mille ti dirò nomi d’amor. I will seal your eyes with
a thousand kisses
and call you by a thousand names of love.
FINAL SCENE
A squad of soldiers has come up the stairs. The officer arranges them in a firing squad. Spoletta, the Sergeant and the jailer also enter,
Spoletta directing affairs. As dawn appears, a bell strikes four. The jailer removes Cavaradossi’s cap and nods to the officer.
Carceriere L’ora! It is time!
Cavaradossi Son pronto. I am ready.
The jailer takes the register and leaves.
Tosca
(Tieni a mente… al primo colpo,…
giù…)
(Remember… at the first shot,…
down …)
Cavaradossi (Giù.)
(Down.)
Tosca
(Don’t get up before
I call you.)
(Nè rialzarti innanzi ch’io ti chiami.) Cavaradossi (No, amore!) (No, beloved!)
Tosca
(And fall well.)
(E cadi bene.) Cavaradossi (Come la Tosca in teatro.) (Like Tosca on the stage.)
Tosca
(Don’t laugh…)
(Non ridere…) Cavaradossi (Così?) (Like so?)
Tosca
(Like so.)
(Così.)
Tosca moves to one side where she can see. Cavaradossi declines the blindfold with a smile. The preparations strain Tosca’s patience.
Tosca
Com’è lunga l’attesa! Perché indugiano ancor?… Già sorge il sole…
Perché indugiano ancora?… è una commedia, lo so… ma questa angoscia eterna pare!…
How long the wait is!
Why are they still delaying?…
The sun is already rising…
Why are they still delaying?…
it is a farce,
I know… but this anguish
seems to last for ever!…
39
LIBRETTO
Ecco!… apprestano l’armi… com’è bello il mio Mario!… There!… they are taking aim…
how handsome my Mario is!…
The officer lowers his sabre, the platoon fires and Cavaradossi falls.
Là! muori! Ecco un artista!… There! die!
What an actor!…
The Sergeant moves towards the fallen man, but Spoletta stops him delivering the coup de grace. He covers Cavaradossi with a cloak.
Spoletta and the guards leave. Tosca watches impatiently, worried that Cavaradossi may lose patience and move or speak.
O Mario, non ti muovere… s’avviano… taci! vanno… scendono…
O Mario, do not move…
they’re going… be still! they are going…
they’re descending…
She thinks she hears the guards returing.
Ancora non ti muovere… You still mustn’t move…
She listens again. They have all gone.
Presto, su! Mario! Mario!
Su, presto! Andiam! Su, su!
Quickly, up! Mario! Mario!
Up, quickly! Let’s go! Up, up!
She bends down to help him, and lifts the cloak. Suddenly she gasps as she looks at her hands. She kneels and quickly removes the
cloak, then leaps to her feet pale with terror. Realising what has happened, she throws herself on his body.
Mario! Mario! Ah! Morto! Morto!
Mario! Mario! Ah! Dead! Dead!
O Mario… morto?… tu?.. così?… Finire così? finire così! To, morto, morto! Mario…
povera Floria tua! Mario! Mario!
O Mario… dead?… you?… like this?…
To end like this? to end ike this!
You, dead, dead! Mario…
your poor Floria! Mario! Mario!
From below come the confused voices of Spoletta, Sciarrone and the soldiers. They are approaching.
Sciarrone
Vi dico pugnalato! I tell you he was stabbed!
Voices
Scarpia? Scarpia?
Sciarrone
Scarpia. Scarpia.
Spoletta
La donna è Tosca! It was the woman Tosca!
Voices
Che non sfugga! Attenti agli sbocchi delle scale!
Don’t let her escape!
Watch the foot of the stairs!
Spoletta and Sciarrone rush in from the stairway.
Sciarrone
È lei! It’s her!
Spoletta
Ah! Tosca, pagherai ben cara la sua vita!… Ah! Tosca, you will pay
dearly for his life!…
Tosca jumps up, pushing Spoletta away.
Tosca
Colla mia! With my own!
Spoletta falls back from the sudden thrust, and Tosca escapes his clutches. She runs to the parapet, where she leaps up and hurls herself
over the edge, crying:
O Scarpia, avanti a Dio! O Scarpia, before God!
Sciarrone and soldiers rush to the parapet and look down. Spoletta stands, pale and stunned.
40
ARTISTS’ BIOGRAPHIES
Geraint Dodd
Floria Tosca (soprano)
Mario Cavaradossi (tenor)
Born and educated in Cornwall, Naomi
studied with William McAlpine at GSMD. Her
long association with Welsh National Opera
includes Tosca, Violetta La Traviata, Desdemona
Otello, Cio-Cio San Madama Butterfly, Mimì La
Bohème, Liù Turandot, Nedda Pagliacci, Giorgetta
Il Tabarro, Hanna Glawari The Merry Widow,
Pamina and First Lady The Magic Flute, Micaëla
and Frasquita Carmen, Madame Larina Eugene
Onegin, Flower Maiden Parsifal and Berta The
Barber of Seville. For English National Opera
she has played Fiordiligi Così fan Tutte; for
English Touring Opera, Mimì and Musetta
La Bohème and Alice Ford Falstaff; for MidWales Opera, Tosca; for Opera Holland Park,
Magda The Consul, directed by Simon Callow;
and for English Bach Festival, La Musica
Orfeo at The Royal Opera House and Ismene
Mitridate in Monte Carlo. Naomi has equally
wide experience as a concert and oratorio
performer, and most recently she entered the
world of Wagner heroines by understudying
Senta in ENO’s new production of The Flying
Dutchman.
Geraint was born in Penycae, North Wales,
and studied at the RNCM in Manchester.
Operatic roles include Pinkerton Madama
Butterfly (Welsh National Opera and Singapore
Lyric Opera); Pollione Norma (San Francisco
Opera); Cavaradossi Tosca, Duke Rigoletto, Don
José Carmen, Macduff Macbeth, Vogelgesang
Die Meistersinger von Nürnberg, Florestan Fidelio
(WNO); Canio Pagliacci (English National
Opera and Opera North); Nadir The Pearl Fishers,
Werther, Rodolfo La Bohème (English Touring
Opera); Turiddu Cavalleria rusticana (Raymond
Gubbay); Calaf Turandot and Radames Aïda (Mid
Wales Opera). Geraint has worked with many
leading conductors, including Lothar Koenigs,
Owain Arwel Hughes, David Lloyd Jones,
Wilfried Boettcher, Stanisław Skrowaczewski
and Sir Charles Mackerras in works such as
Elgar’s Dream of Gerontius, Rossini’s Stabat Mater,
Verdi’s Requiem, and Handel’s Messiah. Future
engagements include an opera gala at the
Colston Hall, Bristol and a performance of
Puccini’s Messa di Gloria at St Andrew’s University.
Photo © Brian Tarr
Naomi Harvey
41
ARTISTS’ BIOGRAPHIES
William Robert Allenby
Il barone Scarpia (baritone)
Sagrestano (baritone)
Photo © Carpenter Turner, London
Nicholas Folwell
Nicholas Folwell has sung Alberich
internationally, including for Nationale
Reisopera, Angers Nantes Opéra, Den Nye
Opera, Welsh National Opera and Scottish
Opera. Other engagements include Blond
Eckbert, Papageno, Tonio, Falke, Mutius Timon
of Athens, Sancho Don Quixote, Poacher/Forester,
Major Mary Die Soldaten, Music Master Ariadne
on Naxos, Bosun Billy Budd, Host Sir John in Love,
Antonio The Marriage of Figaro, Commissar
of Police Rosenkavalier, Kuligin Kát’a Kabanová,
Brander Damnation of Faust (English National
Opera); Figaro, Leporello, Pizarro, Escamillo,
Poacher, Klingsor (WNO); Beckmesser and
Leporello (Opera North); Konrad Nachtigall
Die Meistersinger von Nürnberg,The Poacher, Antonio
(Royal Opera House); Figaro, Melitone La forza
del destino, Bartolo Il barbiere di Siviglia, Mumlal
The Two Widows (Scottish); Pizarro, Figaro
(Glyndebourne on Tour); Dreieinigkeitsmoses
Aufstieg und Fall der Stadt Mahagonny (Nantes);
Figaro, Le Chat/L’Horloge L’Enfant et les Sortilèges,
Don Inigo Gomez L’heure espagnole (Opera
Zuid); Masetto (Tel Aviv); Marullo (Frankfurt);
Koroviev in première of Der Meister und Margarita
(Paris); Sharpless, Pizarro (Holland Park).
42
William Robert Allenby studied at the RAM
and at the RSAMD where he was the recipient
of various prestigious scholarships and awards.
He has performed with English National Opera,
Welsh National Opera, Scottish Opera, Opera
North, the D’Oyly Carte, Glyndebourne, Opera
Holland Park, Buxton, Opera Ireland, Saigon
Opera House, Linbury Studio ROH, The Opera
Project and Iford Arts. His repertoire includes
Monterone Rigoletto, Sacristan and Sciarrone
Tosca, Dulcamara L’elisir d’amore, Germont Père
La Traviata, Araspe Tolomeo, Moralès Carmen,
Alfio Cavalleria rusticana, Dr Bartolo and Antonio
The Marriage of Figaro and Pish-Tush The Mikado.
Future performances include Simone Gianni
Schicchi for Opera Holland Park, Masetto Don
Giovanni for Mid Wales Opera, Alcindoro La
Bohème for the Royal Opera House, Covent
Garden and a return to WNO.
David Newman
Spoletta (tenor)
David is one of the most exciting and
respected tenor soloists of his generation and
is currently on contract with English National
Opera. Notable operatic engagements include
successfully standing in, with 20 minutes’
notice, to sing Nadir at ENO; Radames,
Rodolfo, Pinkerton, Cavaradossi, Alfredo, Don
José, Tamino and Nemorino, with companies
including ENO, Scottish Opera, Opera Ireland,
Opera Interludes and Mid Wales Opera. He
has over 80 concert works in his repertoire,
performing at venues including the Barbican,
Queen Elizabeth Hall, Royal Albert Hall, York
Minster, Durham, Winchester and Salisbury
Cathedrals. He has broadcast on Classic FM,
BBC radio and television, and appeared as
soloist at outdoor classical spectaculars for
audiences of 10,000 people.
ARTISTS’ BIOGRAPHIES
Matthew Hargreaves
Dominic Williams
Cesare Angelotti (baritone)
Un pastore (treble)
Matthew Hargreaves was born in London and
began singing as a chorister at Westminster
Abbey. He studied at GSMD with Rudolph
Piernay‚ where he won several prizes including
the Decca Prize in the 1997 Kathleen Ferrier
Award Competition. Recent performances
include Angelotti Tosca‚ Gubetta Lucrezia Borgia at
English National Opera; Figaro Le nozze di Figaro
and Leporello Don Giovanni for Opera Holland
Park. Future engagements include The Voice of
Neptune Idomeneo for Grange Park Opera, The
Stagehand The Makropulos Case, Leporello Don
Giovanni for Opera North and The Investigator
A Dog’s Heart at La Scala, Milan.
Dominic is 11 years old and is currently
studying at Trinity School, Croydon.
With the Trinity Boys Choir Dominic has
performed in Parsifal, backed Susan Boyle at the
Pride of Britain Awards, Children in Need, at
The Royal Variety Performance and performed
in the BBC Proms at the Royal Albert Hall. His
solo performances include Britten’s Midsummer
Nights Dream with English National Opera
and La Bohème at Glyndebourne. Dominic is
happiest when he is performing.
Simon Lobelson
Nathaniel Brawn
Sciarrone/Il carceriere (baritone)
Assistant conductor
Born in Sydney of Egyptian parents and bred in
Brussels, Simon holds an Opera Diploma with
distinction from the RCM. Recent oratorio
appearances have included the Sydney Opera
House, Birmingham Symphony Hall, and with
the London Mozart Players, Israel Camerata
and for the Lucerne Festival under Pierre
Boulez. Current and recent operatic projects
include Ludd and Isis for the Royal Opera House,
Adriana Lecouvreur at the Queen Elizabeth Hall,
Béatrice et Bénédict at Cadogan Hall, Barber of Seville
for Swansea City Opera, L’enfant et les sortilèges
in Greece, Zaide for Sadler’s Wells and Buxton
Festival and opera galas in China. Simon has
recorded for Chandos and ABC Classics.
Nathaniel began his musical career at the
age of 14, paid with viola lessons in return
for accompanying string pupils. Since then,
he has gone on to play in concerts with the
Bournemouth Symphony Orchestra under
Marin Alsop and for performers such as Russell
Watson, Alison Balsom and Bobby Chen.
Since graduating from the University of Surrey
(Conducting—Russell Keable, Piano—Dr
Maureen Galea), Nathaniel has taught for
the Eton Choral Courses and Berkshire Music
Service, plays regularly for the Kantanti
Ensemble and sings with Collegium Vocale.
He is now Musical Director of the Highcliffe
Junior Choir, Dorset, with whom he has
recently released a recording of Mr Hook’s
Original Christmas Box with David Owen Norris,
and he becomes Head of Music at Wetherby
Preparatory School, Marble Arch, in September.
43
ARTISTS’ BIOGRAPHIES
BIOGRAPHIES
Russell Keable conductor
Russell Keable has established a reputation
as one of the UK’s most exciting musicians.
As a conductor he has been praised in the
national and international press: “Keable
and his orchestra did magnificently,” wrote
the Guardian; “one of the most memorable
evenings at the South Bank for many a
month,” said the Musical Times.
He performs with orchestras and choirs
throughout the British Isles, has conducted
in Prague and Paris (concerts filmed by
French and British television) and recently
made his debut with the Royal Oman
Symphony Orchestra in Dubai.
As a champion of the music of Erich Korngold he has received particular praise: the British
première of Korngold’s Die tote Stadt was hailed as a triumph, and research in Los Angeles led to a
world première of music from Korngold’s film score for The Sea Hawk.
Keable was trained at Nottingham and London Universities; he studied conducting at
London’s Royal College of Music with Norman Del Mar, and later with George Hurst. For
27 years he has been associated with Kensington Symphony Orchestra, one of the UK’s
finest non-professional orchestras, with whom he has led first performances of works
by many British composers (including Peter Maxwell Davies, John Woolrich, Robin
Holloway, David Matthews, Joby Talbot and John McCabe). He has also made recordings of two
symphonies by Robert Simpson, and a Beethoven CD was released in New York.
Russell Keable is recognized as a dynamic lecturer and workshop leader. He has the rare skill of
being able to communicate vividly with audiences of any age (from school children to music
students, adult groups and international business conferences). Over five years he developed
a special relationship with the Schidlof Quartet, with whom he established an exciting and
innovative education programme. He holds the post of Director of Conducting at the University
of Surrey.
Keable is also in demand as a composer and arranger. He has written works for many British
ensembles, and his opera Burning Waters, commissioned by the Buxton Festival as part of their
millennium celebration, was premièred in July 2000. He has also composed music for the mime
artist Didier Danthois to use working in prisons and special needs schools.
44
ARTISTS’ BIOGRAPHIES
Kensington Symphony Orchestra
In its 56th year Kensington Symphony Orchestra enjoys an enviable reputation as one of the
finest amateur orchestras in the UK. Its founding premise—to provide students and amateurs
with an opportunity to perform concerts at the highest possible level—continues to be at the
heart of its mission. It regularly attracts the best non-professional players from around London.
It seems extraordinary that KSO has had only two principal conductors—the founder, Leslie
Head, and the current incumbent, Russell Keable. The dedication, enthusiasm and passion of
these two musicians has indelibly shaped KSO’s image, giving it a distinctive repertoire which
undoubtedly sets it apart from other groups. Its continued commitment to the performance of
the most challenging works in the canon is allied to a hunger for new music, lost masterpieces,
overlooked film scores and those quirky corners of the repertoire that few others dare touch.
Photo © Sim Canetty-Clarke
Revivals and premières, in particular, have peppered the programming from the very beginning.
In the early days there were world premières of works by Arnold Bax and Havergal Brian, and
British premières of works by Nielsen, Schoenberg, Sibelius and Bruckner (the original version
of the Ninth Symphony). When Russell Keable arrived in 1983, he promised to maintain
the distinctive flavour of KSO. As well as the major works of Mahler, Strauss, Stravinsky and
Shostakovich, Keable has aired a number of unusual works as well as delivering some significant
musical landmarks—the London première of Dvořák’s opera Dimitrij and the British première
of Korngold’s operatic masterpiece, Die tote Stadt (which the Evening Standard praised as “a feast of
brilliant playing”). In January 2004, KSO, along with the London Oriana Choir, performed a
revival of Walford Davies’s oratorio Everyman, which is now available on the Dutton label.
45
ARTISTS’ BIOGRAPHIES
New music has continued to be the life-blood of KSO. An impressive roster of contemporary
composers has been represented in KSO’s progressive programmes, including Judith Weir,
Benedict Mason, John Woolrich, Joby Talbot and Peter Maxwell Davies. Two exciting collaborations
with the BBC Concert Orchestra have been highlights: Bob Chilcott’s Tandem and the première
of Errollyn Wallen’s lively romp around the subject of speed dating, Spirit Symphony, at the Royal
Festival Hall, both of which were broadcast on BBC Radio 3. In December 2005, Spirit Symphony
was awarded the Radio 3 Listeners’ Award at the British Composer Awards. Russell Keable has
also written music for the orchestra, particularly for its education projects, which have seen
members of the orchestra working with schools from the inner London area.
In 2006 KSO marked its 50th anniversary. The celebrations started with a ball at the Radisson
Hotel, Portman Square in honour of the occasion, attended by many of those involved with
the orchestra over the previous 50 years. The public celebration took the form of a concert at
London’s Barbican in October. A packed house saw the orchestra perform an extended suite
from Korngold’s score The Sea Hawk, Rachmaninov’s Piano Concerto No. 2, with established KSO
collaborator Nikolai Demidenko, and Prokofiev’s cantata Alexander Nevsky, with the London Oriana
Choir.
KSO has an honourable pedigree in raising funds for charitable concerns. Its very first
concert was given in aid of the Hungarian Relief Fund, and since then the orchestra
has supported the Jacqueline du Pré Memorial Fund, the Royal Brompton Hospital
Paediatric Unit, Trinity Hospice, Field Lane, Shape London and the IPOP music school. In recent
years it has developed links with the Kampala Symphony Orchestra and Music School under its
KSO2 programme, providing training, fundraising and instruments in partnership with charity
Musequality.
The reputation of the orchestra is reflected in the quality of international artists who regularly
appear with KSO. In recent seasons soloists have included Nikolai Demidenko, Leon McCawley,
Jack Liebeck and Richard Watkins, and the orchestra has worked with guest conductors including
Andrew Gourlay and Nicholas Collon. All have enjoyed the immediate, enthusiastic but
thoroughly professional approach of these amateur musicians.
Without the support of its sponsors, its Friends scheme and especially its audiences, KSO
could not continue to go from strength to strength and maintain its traditions of challenging
programmes and exceptionally high standards of performance. Thank you for your support.
If you would like to receive news of our forthcoming
concerts by email, please join our mailing list. Just
send a message to [email protected] and we’ll
do our best to keep you informed.
46
ARTISTS’ BIOGRAPHIES
Twickenham Choral Society
Trinity Boys Choir
Conductor: Christopher Herrick
Director: David Swinson
A friendly and thriving choir of over 110
voices drawing singers of all ages from a wide
area of West London, Twickenham Choral
Society has been impressing audiences for
more than 90 years.
Trinity Boys Choir is one of the busiest and
most successful in the world. It has enjoyed
a high professional profile, both at home and
abroad, since its foundation by David Squibb
over 40 years ago.
Christopher Herrick has been the choir’s
conductor since 1974. In that time he has
led the choir’s development, performing a
huge range of repertoire ranging from the
Renaissance to the present day, and continuing
an important tradition of commissioning
works from young composers.
In the world of opera, the boys appear on
such prestigious stages as Glyndebourne, the
Royal Opera House, Covent Garden, English
National Opera and various opera houses
abroad, including the Opéra Comique, Paris,
La Fenice, Venice, and at the Aix-en-Provence
Festival. The boys are especially well known
for their part in Britten’s A Midsummer Night’s
Dream, in which they have appeared in over
150 professional performances, and they
feature on both the Warner DVD and on the
Virgin Classics CD of the opera.
Concerts are given locally as well as in
Westminster Abbey, the Royal Albert Hall, St
Martin-in-the-Fields and Guildford Cathedral.
Concert tours abroad take place biennially and
have included such places as Paris, Prague,
Budapest, Barcelona, Istria and Mallorca.
Rehearsals are dynamic and challenging with a
real feeling of enthusiasm for singing together.
They take place in Twickenham as part of
the Richmond Adult Community College.
Occasional workshops with visiting specialists
are organised to polish the choir’s vocal
technique and members are reauditioned
every three years.
The choir works with excellent professional
soloists and its partner orchestra, the
Brandenburg Sinfonia, always aiming to
produce the highest quality performance.
We are thrilled to have the opportunity of
working with Russell Keable and Kensington
Symphony Orchestra tonight.
On the concert platform, the Choir is regularly
invited to perform at the BBC Proms, and
was honoured to perform in Her Majesty
the Queen’s 80th Birthday Prom Concert
at the Royal Albert Hall in 2006. The boys
have performed with all the major London
orchestras, and with Sir John Eliot Gardiner
and the Monteverdi Choir in Spain, Germany,
Italy and the UK. Trinity Boys Choir has also
been invited to perform in Vienna with the
Vienna Boys’ Choir, and in France, Holland,
Hong Kong, Japan, Malaysia and Norway.
The Choir’s many recordings include John
Rutter’s Bang, an opera written for them,
Britten’s A Boy Was Born with the BBC
Symphony Chorus, and Walton’s Henry V with
the BBC Symphony Orchestra and the BBC
Singers. Several feature films also incorporate
the voices of Trinity Boys Choir, including Lord
of the Flies and 101 Dalmations.
47
YOUR SUPPORT
FRIENDS OF KSO
To support KSO you might consider joining our very
popular Friends Scheme. There are three levels of
membership and attendant benefits:
Friend
Unlimited concession-rate tickets per concert; priority
bookings, free interval drinks and concert programmes.
Premium friend
A free ticket for each concert, unlimited guest tickets at
concessionary rates, priority bookings, free interval drinks
and concert programmes.
Patron
Two free tickets for each concert, unlimited guest tickets at
concessionary rates, priority bookings, free interval drinks
and concert programmes.
All Friends and Patrons can be listed in concert programmes
under either single or joint names.
We can also offer tailored Corporate Sponsorships for
companies and groups. Please ask for details.
Cost of membership for the 56th Season is:
Friend. . . . . . . . . . . . . . . . . . £50
Premium friend. . . . . . . . . . £110
Patron. . . . . . . . . . . . . . . . . £200
To contribute to KSO through joining the Friends please
email [email protected] or call David Baxendale
on 020 8653 5091.
48
Honorary Friends
Michael Fleming
Leslie Head
Patrons
Gill Cameron
Malcolm and Christine Dunmow
Gerald Hjert
David and Mary Ellen McEuen
Linda and Jack Pievsky
Neil Ritson and family
Kim Strauss-Polman
Premium friends
David Baxendale
Barbara Bedford
Fortuné and Nathalie Bikoro
John Dale
John Dovey
Maureen Keable
Nick Marchant
David and Rachel Musgrove
Joan and Sidney Smith
Friends
Anne Baxendale
Robert and Hilary Bruce
Jan and Roy Fieldon
Joan Hackett
Robert and Gill Harding-Payne
Michael and Caroline Illingworth
Mrs Dorothy Patrick
Peter and Marie Rollason
Rufus Rottenberg
Sandy Shaw
YOUR SUPPORT
OTHER WAYS TO SUPPORT US
Sponsorship
One way in which you, our audience, can help us
very effectively is through sponsorship. Anyone
can be a sponsor, and any level of support—from
corporate sponsorship of a whole concert to
individual backing of a particular section or
musician—is enormously valuable to us. We
offer a variety of benefits to sponsors tailored
especially to their needs, such as programme and
website advertising, guest tickets, and assistance
with entertaining.
Photo © Sim Canetty-Clarke
For further details about sponsoring KSO, please
speak to any member of the orchestra, email
[email protected] or call James Wheeler
on 07808 590176.
The KSO Endowment Trust
An Endowment Trust has been established by
Kensington Symphony Orchestra in order to
enhance the orchestra’s ability to achieve its
charitable objectives in the long term.
The Trust will manage a capital fund derived
from donations and legacies. Each year, the
Trustees will make grants from its income to
assist important KSO projects and activities, such
as commissioning new music, which would be
impossible to finance relying on concert funds
alone.
Our aim is to raise at least £100,000 over the
first ten years. We would be pleased to hear from
individuals or organisations who would like to
donate any sum, large or small, and would also
be keen to talk to anyone who might consider
recognising KSO’s work in their will.
For further information, please email trust@
kso.org.uk or telephone Neil Ritson on 07887
987711.
49
TONIGHT’S PERFORMERS
ORCHESTRA
First Violin
Alan Tuckwood
Taro Visser
Matthew Hickman
Helen Stanley
Zami Jalil
Videl Bar-Kar
Jason Weir
Heather Bingham
Claire Maugham
Sabina Wagstyl
Susan Knight
Jo Johnson
Megan Hill
Katie Dicker
Claire Dovey
Adrian Gordon
Second Violin
David Pievsky
Juliette Barker
Hannah Thomas
Danielle Dawson
Jeremy Bradshaw
Richard Sheahan
Françoise Robinson
Amy King
Antonio De Stefano
Rufus Rottenberg
Hannah Brown
Helen Turnell
Louise Ringrose
Sarah Linnell
Viola
Beccy Spencer
Sally Randall
Sonya Brazier
Sophie Zaaijer
Guy Raybould
Zen Edwards
Toby Deller
Jane Spencer-Davis
Ornella Calvano
Liz Lavercombe
Alison Nethsingha
Nick Macrae
Cello
Joseph Spooner
Rebecca Sackman
Alexander Breedon
Peter Nagle
Alexandra Dinwiddie
David Baxendale
Rosie Goddard
Anna Hamilton
Kim Polman
Annie Marr-Johnson
Amanda Ferguson
Judith Robinson
Double Bass
Andrew Lang
Steph Fleming
Debs Spanton
Gisella Ferrari
Lauren Baker
Paul Horner
Flute
Judith Jerome
Claire Pillmoor
Dan Dixon
Piccolo
Dan Dixon
Claire Pillmoor
Oboe
Charles Brenan
Gavin Pettinger
Cor Anglais
Chris Astles
Clarinet
Chris Horril
Ian Noonan
Bass Clarinet
Graham Elliott
Bassoon
Nick Rampley
Sheila Wallace
Contrabassoon
Robin Thompson
French Horn
Jon Boswell
Heather Pawson
Jim Moffat
Ed Corn
Trumpet
Steve Willcox
John Hackett
Leanne Thompson
Trombone
Phil Cambridge
Ken McGregor
Bass Trombone
Steve Freeman
Contrabass
Trombone
David Musgrove
Timpani
Brian Furner
Percussion
James Shires
Simon Willcox
Organ
Adrian Mumford
Celeste/
Offstage Viola
Nathaniel Brawn
Harp
Daniel de-Fry
50
TONIGHT’S PERFORMERS
CHOIRS
Music Director
Russell Keable
Assistant Conductor
Nathaniel Brawn
Trustees
Chris Astles
David Baxendale
Zen Edwards
Heather Pawson
Nick Rampley
Neil Ritson
Richard Sheahan
James Wheeler
Event Team
Chris Astles
Zen Edwards
Beccy Spencer
Sabina Wagstyl
Marketing Team
Jeremy Bradshaw
Guy Raybould
Jo Johnson
David Musgrove
Louise Ringrose
Soprano
Judy Britton
Liz Butler
Sarah Cheshire
Julia Coomes
Kathryn Doley
Jane Hansell
Melissa Hartshorn
Wendy Johnson
Vivian Jordan
Katherine Lidbetter
Oda Rudiger
Sarah Taylor
Alto
Lisa Colclough
Barbara Cook
Margaret Garnham
Christine Gilbert
Rosemary Jeffery
Kate Larcombe
Jean Leonard
Catherine Mann
Beryl Mason
Pene Skinner
Tenor
Chris Britton
Michael Collins
Steven Cooper
Michael Gilbert
Clive Hall
Bill Hartree
John Mullinar
Bass
Chris Bennett
David Knight
David C Knight
Tim Lidbetter
Richard Metcalfe
Peter Midgley
Adrian Mumford
John Saunders
Chris Williams
Phil Wright
Boys
Alexander Roberts
Caleb Broomfield
Cato Pauling
Charlie Gill
Gabriel Kuti
Daniel Gilbert
Luke Houlahan
Milo Hayes-Collins
Owen Harries
Prashant Dandiker
Robert Sharrock
Shivam Chadha
Stefan Horn
Thomas Kirkman-Wood
Thomas Swindell
William Perry
Adarsh Shah
Lochlan Rycott
Sam Moran
Dexter Howell
Angus Fenton
Dominic Williams
Membership Team
Phil Cambridge
Juliette Barker
David Baxendale
Programmes
David Musgrove
51
Monday, 11 June 2012
PETER NAGLE Until I die there will be sounds (World première)
SIBELIUS Symphony No. 7
BRAHMS Symphony No. 1
Monday, 15 October 2012
BERLIOZ Overture ‘Benvenuto Cellini’
BERG Three Pieces for Orchestra
STRAVINSKY The Firebird (complete ballet)
Monday, 26 November 2012
MAGNUS LINDBERG Gran Duo
PROKOFIEV Violin Concerto No. 2
SCHUMANN Symphony No. 4
Monday, 21 January 2013
(At Queen Elizabeth Hall)
‘A Night at the Oscars’, to include:
BERNSTEIN On the Waterfront
GERSHWIN Rhapsody in Blue
STEINER Gone with the Wind
JOHN WILLIAMS Star Wars
Saturday, 9 March 2013
(With guest conductor Stuart Barr)
Programme to be announced
Tuesday, 21 May 2013
MAHLER Symphony No. 7
Monday, 24 June 2013
BARTÓK Dance Suite
LUTOSŁAWSKI Mi-Parti
DVOŘÁK Symphony No. 7
All concerts at 7.30pm, St. John’s, Smith Square
unless otherwise stated
Registered charity No. 1069620