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explains that the execution will only be a mock one and they will be able to escape from Rome. Spoletta confirms this and leaves to prepare the firing squad. Alone with
Cavaradossi, Tosca tells him that she has killed Scarpia. Spoletta returns to take Cavaradossi to the platform where the firing squad awaits and tells Tosca to remain behind. After a few minutes, Tosca goes out onto the platform and sees Cavaradossi lying on the ground. She turns him over and discovers that he is dead. The bullets were real. Spoletta reveals that he was in fact following Scarpia's orders which contained the coded message to shoot him "like we shot Count Palmieri". Distraught at Scarpia's betrayal, Tosca screams "And I cannot even kill him again!" At first Spoletta and Schiarrone think she has gone mad, but an officer arrives and confirms that Scarpia has been murdered. As Spoletta lunges towards her, Tosca climbs onto the castle parapets and throws herself off.
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1069:. Tosca arrives to confront her lover about the fan Scarpia had shown her. Cavaradossi and Angelotti explain everything and she realizes with horror that she has been duped into leading Scarpia to them. On hearing the arrival of Scarpia and his men, Angelotti seeks refuge in the well. Scarpia demands to know where Angelotti is hidden. When Tosca and Cavardossi refuse to tell, Cavaradossi is taken off to be interrogated by the Procureur and tortured by Scarpia's assistant if he refuses to answer. Scarpia describes the torture device in great detail to Tosca, who is then made to listen to her lover's screams. Unable to bear it any longer, she reveals the hiding place, much to Cavaradossi's fury. Rather than be captured, Angelotti takes poison
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1035:. She reiterates her demand that Scarpia capture Angelotti and have him hanged. Scarpia must now find the fugitive's hiding place as quickly as possible. Hoping to provoke Tosca into leading him to Cavaradossi and Angelotti, he takes her aside and shows her the Marquise Attavanti's fan, intimating that she and Cavaradossi are lovers. Tosca is overcome with jealousy. As the cantata performance is about to begin, couriers arrive with a letter announcing that the French had been victorious at the Battle of Marengo after all. The Queen faints. Tosca throws the pages of her score into the air and rushes out with her maid. Scarpia orders his men to follow her carriage.
404:, had published a complete description of the plot on the morning of 24 November. (Following the premiere, Sardou brought a successful suit for damages against the paper.) At the end of the performance, Pierre Berton (Scarpia) came on stage for the customary presentation of the author to the audience. As he began his introduction, a large part of the audience interrupted him shouting, "Bernhardt, Bernhardt!" After three failed attempts, he went backstage and asked Bernhardt to come out. She refused to do so until Sardou had been introduced. Berton finally succeeded, after which Bernhardt appeared to thunderous applause and cries of "Vive Sarah!"
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tells how she inspired his painting. Tosca arrives and
Angelotti quickly returns to his hiding place. Tosca, who is dark-haired, becomes jealous when she sees Cavaradossi's painting of a blonde woman, but he reassures her of his love. After she departs, Cavaradossi and Angelotti quickly leave for Cavaradossi's country villa. Baron Scarpia and his police enter the church searching for Angelotti. Scarpia finds the fan left by the Marquise Attavanti and keeps it. Worshippers arrive for the
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191:. He then offers to spare her lover if Tosca will yield to his sexual advances. She appears to acquiesce, but as soon as Scarpia gives the order for the firing squad to use blanks, she stabs him to death. On discovering that Cavaradossi's execution had in fact been a real one, Tosca commits suicide by throwing herself from the castle's parapets.
488:, and was a favourite of Queen Maria Carolina. Determined to avoid a scandal, the Queen demanded that he be returned to Naples and hanged. He was languishing in Rome's Castel Sant'Angelo, when his sister Giulia, the Marquise Attavanti, helped him to escape. According to historian Susan Vandiver Nicassio, Angelotti was partly based on
599:, where he was known for his ruthless law enforcement. When Naples took control of Rome in 1799, he was appointed the city's Regent of Police, and quickly gained a reputation for the cruelty and licentiousness that lay beneath his seemingly courteous exterior. Angelotti characterises him as a religious hypocrite and an "impure
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Unlike the play, Scarpia shows Tosca the
Marquise Attavanti's fan in Act 1, where Puccini's librettists contrive to have her return to the church following the departure of Angelotti and Cavaradossi. In the opera, both Cavaradossi's interrogation and torture and Scarpia's subsequent murder take place
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The number of characters is sharply reduced in the opera, and the work shortened to three acts, leaving out much of the political motivations of the protagonists. In the opera, Angelotti and
Cavaradossi already know each other. In the play, they had never met before, thus allowing considerable scope
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There is not much of play, a mere outline at best, made to fit like a glove the talent and personality of
Bernhardt who is all and everything, but who should or could complain? The interest never slackens; there is enough dialogue and apropos to keep both gratification and amusement entertained, and
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Scarpia is eating supper in a room lit only by two candles and a candelabrum on his table. There is a prayer stool and a crucifix in an alcove near his bed. He orders Tosca, who has been locked in another room of the castle, to be brought to him. When she arrives, he tells her that
Cavaradossi is to
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which Tosca will sing later that evening as part of the victory celebrations. Baron
Scarpia arrives and there is further discussion of Angelotti's escape, cut short by the arrival of Tosca. Queen Marie Caroline enters for the performance of the cantata accompanied by Paisiello, Prince Diego Naselli,
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Early audiences (especially in the United States and
Britain) sometimes balked at the realism in Sardou's play, especially Cavaradossi's screams while he is being tortured off-stage. In Puccini's version, his screams are likewise heard by the audience. However his death by firing squad is even more
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Following the London premiere in 1888, Cecil Howard wrote that the play was even more popular there than it had been in Paris. Like several critics describing the Paris premiere, he devoted a large part of his review to
Bernhardt's performance, which he said held the audience "breathless and rapt",
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emerges from his hiding place in his family's chapel. His sister, the
Marquise Attavanti, had visited the day before to leave him supplies and women's clothes to disguise himself, including a fan to hide his face. Cavaradossi recalls seeing a beautiful blond woman in the church the previous day and
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The "unchaste" behaviour of the heroine and the violence and brutality depicted in the play, although relatively mild by modern standards, disturbed not only critics at the time, but also some play-goers. The audience's reaction to Tosca's suicide at the American premiere caused Fanny Davenport to
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in the title role. Despite negative reviews from the Paris critics at the opening night, it became one of Sardou's most successful plays and was toured by Bernhardt throughout the world in the years following its premiere. The play itself had dropped from the standard theatrical repertoire by the
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out of the Roman States. As soon as he signs the document and starts to kiss her, she grabs a knife from the supper table and stabs Scarpia to death. Tosca removes the safe conduct from his hand and starts to leave, but then turns back. She places the two lighted candles on each side of Scarpia's
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awaiting her lover. Tosca finally says that she will agree to his terms, but only after she has proof that Cavaradossi will be spared. Scarpia calls in Spoletta and in front of Tosca instructs him to stage a mock execution by firing squad with blanks in the riflemen's guns. After Spoletta leaves,
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be hanged at dawn. He also tells her of his intense attraction to her and offers to spare Cavaradossi if she agrees to sleep with him. Tosca calls him a wild animal and repels his advances in disgust, which only serves to increase his desire. Scarpia then takes her to the window and shows her the
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in Rome. As soon as her engagement at the theatre was over, she and Cavaradossi planned to leave for Venice, where she had a contract to sing at La Fenice. Sardou took a long time to decide on her name and may have finally been influenced by Saint Tosca, who is particularly revered in Verona. The
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The Théâtre de la Porte Saint-Martin was packed for the opening night on 24 November 1887, although many in the audience already knew the ending before the curtain went up. While journalists were usually invited to dress-rehearsals, they were expected not to publish details of the play before the
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Writing from the perspective of the late 20th century, Nicassio agrees that Bernhardt's performance as a character essentially like herself, a celebrated, amorous, and temperamental diva, was undoubtedly a key factor in the play's success with the Paris audience. However, she cites other factors
603:" from whom no woman is safe. Before Scarpia set his sights on Floria Tosca, he had tried to force himself on Angelotti's sister, who fled from him in terror. According to Nicassio, Sardou may have chosen his name for its similarity to "Sciarpa", the nickname of Gherardo Curci, a bandit who led
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and lived in David's atelier during the French Revolution. When he visited Rome in 1800 to settle his father's estate, he met and fell in love with the celebrated opera singer Floria Tosca, and decided to prolong his stay. He soon gained a reputation as a free-thinker and Bonapartist. Even his
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Spoletta and his men awaken Cavaradossi in the chapel where he is being held to tell him that he has a visitor. Tosca arrives and rushes into her lover's arms. She begs his forgiveness for having revealed Angelotti's hiding place, and he in turn asks forgiveness for his anger at the time. She
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in the original French at New York's Garden Theater on 5 February 1891 and took the play to many other American cities, aways performing in French, even though on some occasions, the rest of the cast were performing in English. In Paris, she had revived the play in 1899 to inaugurate the
446:. Although their names and backgrounds contain historical allusions, the four main protagonists, Cesare Angelotti, Mario Cavaradossi, Floria Tosca, and Baron Scarpia are fictional. Their backgrounds are revealed in the conversations between Angelotti and Cavaradossi in Acts 1 and 3.
1736:" ("And the stars were shining"), in which he reflects on his past happiness with Tosca and his impending death. Other relatively minor changes include Puccini's addition of a singing shepherd boy as Cavaradossi awaits his execution and a change of the church in Act 1 from Sardou's
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in the Farnese Palace. In the play, Cavaradossi's interrogation is set at his country house, where he was captured, while Scarpia's murder takes place at his apartment in the Castel Sant'Angelo. The news of the Austrian defeat at Marengo which formed the climax of Act 2 in
492:, who had briefly been a Consul of the Roman Republic, although the resemblance in terms of their life histories ends there. Another influence on the choice of surname may have been Nicola Antonio Angeletti (1791–1870), a prominent Italian revolutionary and member of the
1503:, likewise tried (unsuccessfully) to convince Sardou to accept a new ending, with Tosca going mad rather than committing suicide. The Sardou ending stayed, but Illica and Giacosa did make several significant changes to the play, primarily to tighten the action.
1605:, Tosca murders Scarpia in the "Cafe Romano allo Strando", stabbing him with a huge rolled-up restaurant bill and then places one of the dish covers over his face. Cavaradossi, instead, is executed by a phalanx of photographers. The show premiered at London's
1157:. She would continue to be closely associated with the play until well into the 20th century, touring it around the world from 1889, including performances in Egypt, Turkey, Australia and several countries in Latin America. It was during her 1905 tour to
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The period leading up to the premiere was not without problems. As had happened before, once word got out of a new Sardou play, another author would accuse him of plagiarism. In the 1882 caricature of Sardou (left), one of the signs on the wall states,
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explicit, occurring on stage in full view of the audience, rather than off stage as in the play. Tosca's final words before committing suicide in the play are addressed to Spoletta and his men. When he vows to send her to join her lover, she cries
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ever be produced. Sardou, in turn, issued a robust denial in the French papers. As the play neared its premiere, Bernhardt discovered to her fury that Sardou had sold the rights for the first American production of the play to the actress
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went to hear her and wanted her to go on stage. The monks opposed this, but after she was presented to the Pope, he too declared that she should become an opera singer. Four years later she made her debut in the title role of Paisiello's
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in the presence of Queen Maria Carolina, Act 2 of the play, was eliminated. The setting of Act 2 and the events of Acts 3 and 4 in the play were then combined into the second act of the opera, which involved several significant changes.
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comes from the unholy bargain the heroine makes to save her husband's life, similar to that of Tosca and Baron Scarpia. As Sardou pointed out in his affidavit, this plot device is a common one and had been notably used by Shakespeare in
315:, who played Baron Scarpia, had been Bernhardt's on and off lover for many years and a frequent stage partner. The elaborate sets for the production were made by a team of designers and painters who had worked with Sardou before:
438:, not Rome. Paisiello was a Neapolitan court composer, but at the time of the play he was under suspicion for anti-Royalist sympathies, making him a highly unlikely candidate for Maria Carolina's gathering in Act 2. According to
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to explain their histories and backgrounds to each other. The roles of Tosca's maid and Cavaradossi's two servants were eliminated as were most of the characters in Act 2, although some of them such as the Marquis Attavanti and
1376:, wrote at length on Scarpia's graphic description of Cavaradossi's torture and the sound of his off-stage screams in Act 3, which they considered both gratuitously violent and inartistic. However, this was not a view shared by
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contained scenes which were "not only shocking to the nervous system and grossly offensive to persons of true sensibility, but which might inflict irreparable injury on persons yet unborn." Several early critics, including
385:, the director of the Théâtre de la Porte Saint-Martin. Nevertheless, he said he would "graciously permit" Sardou's play to go ahead, and had brought up the issue solely to avoid being accused of plagiarism should
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that she injured her leg jumping from the parapets in the final scene. The wound never healed properly and ultimately led to amputation of her leg ten years later. Bernhardt gave the first American performance of
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Cavaradossi tells Angelotti of a chamber in an ancient Roman well on the property where he can hide until he makes his escape. It had been used by one of Cavaradossi's ancestors when he fled Rome after stabbing a
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had an opening run in Paris of 200 performances. Sarah Bernhardt, along with the original Cavaradossi (Camille Dumény) and Baron Scarpia (Pierre Berton), then starred in the London premiere in July 1888 at the
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does not emerge in the opera until after Cavaradossi has been captured and tortured. Thus Scarpia is able to listen to Tosca's uninterrupted performance of the cantata (heard in a distant room of the palace).
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change the ending in subsequent performances with the firing squad taking aim at Tosca while she grieves over Cavaradossi's lifeless body, an ending also used by Sarah Bernhardt when she performed the play in
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correspondent reported the play's resounding success with the audience, but like many commentators of the day, including Favre, largely attributed it to Sarah Bernhardt's powerful performance, noting that:
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Girardi (2000) p. 9. This group of designers, working in various combinations, created the sets for most of the major opera, ballet, and drama productions in Paris in the second half of the 19th century.
1542:. Bernhardt was so displeased with her performance that she refused to allow its release and tried to buy up and destroy all the negatives. Le Bargy and Calmettes then re-filmed the work, this time with
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read out in court Bernhardt said that she had never seen the play and knew nothing about it, and Sardou said that preliminary material for the play had been in his desk for fifteen years. In fact,
986:) discuss Cavaradossi's relationship with Tosca, his Republican and Bonapartist sympathies, and the apparent defeat of the French army at Marengo. Cavaradossi arrives to work on his painting of
965:. Although out-numbered, the French were ultimately victorious, despite early reports to the contrary. News of the surprise victory reached Rome on 17 June, the time setting for the play.
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As to the play itself, I will only add that it is offensive in its morals, corrupt in its teaching, and revolting in its brutality, and yet everyone who admires acting is bound to see it.
1973:
Nicassio (1999) pp. 2–6 and 169. The synopsis is based on Sardou (1887) in the 2004 English translation by Deborah Burton. All quotes in the synopsis are from the Burton translation.
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The characterizations of the four protagonists are based on Sardou (1887) Acts 1 and 3 in the 2004 English translation by Deborah Burton. All quotes are from the Burton translation.
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earlier that month, their apparent defeat at Marengo, and the disappearance of Angelotti and Cavaradossi. Princesse Orlonia and other ladies of the court join them. All discuss the
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took her in and educated her. The convent organist gave her singing lessons, and by the time she was sixteen, her church performances had made her a local celebrity. The composer
434:. However, their treatment in the play is not always historically accurate. On the day the play takes place, Queen Maria Carolina was actually on her way to Austria and staying in
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1228:. Davenport herself was in the courtroom on 27 April 1888 when the judge found in her favour. Following the New York run, she toured the play throughout the US with her company.
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proved to be phenomenally successful. It ultimately had 3000 performances in France alone, played in theatres all over the world for thirty years, and netted Sardou 500,000
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sympathiser; and Baron Scarpia, Rome's ruthless Regent of Police. By the end of the play, all three are dead. Scarpia arrests Cavaradossi and sentences him to death in the
1388:, which he saw in London in 1890, as a "clumsily constructed, empty-headed turnip ghost of a cheap shocker", while presciently suggesting that it would make a good opera.
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with Sardou himself taking charge of the rehearsals. Unlike Sardou's play, Puccini's opera has achieved an enduring popularity. More than 100 years after its premiere,
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323:, Marcel Jambon, Enrico Robecchi, Alfred Lemeunier, and Amable Petit. The costumes were designed by Théophile Thomas, who also designed Sarah Bernhardt's costumes for
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in January 1890 and ran for 45 performances, with the critic Cecil Howard pronouncing it one of Burnand's finest efforts. Burnand had previously parodied Sardou's
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At the gambling tables, Vicomte de Trévilhac, Capréola, Trevulce and the Marquis Attavanti (all supporters of the Kingdom of Naples), discuss the French defeat at
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for free. Nicassio has speculated that one of the influences on Sardou's choice of name was the extremely similar name Caravadossi, a noble Italian family from
484:. In those days she had been a prostitute going by the name of Emma Lyon, but by the time of the play she had become the wife of the British Envoy to Naples,
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953:, supported by the British and Austrians. However, the fighting continued elsewhere in Italy. The French troops had been defeated by the Austrians at the
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1645:), based largely on the structure of Puccini's opera, but with elements from Sardou's play. The setting was updated to modern times with costumes by
260:(1898). He was known for the historical research which he used to inform his plays and had a private research library of over 80,000 books including
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ranks sixth in the list of most frequently performed operas worldwide, and has over 100 commercial recordings as well as several film versions (see
480:. He is a wanted man, not only for his revolutionary activities but also for a youthful dalliance in London, where he had an eight-day liaison with
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originally worked with Koch on the adaptation, but had to leave Italy at the outbreak of World War II. The film was released in the US in 1947 as
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is descended from an old Roman family, but was born in France, where his father had lived most of his life. The family still had a palazzo on the
1263:). After the mid-1920s, revivals of the play became increasingly sporadic. It was performed in Canada by La Comédie de Montréal in 1941 starring
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dresses back into style, and the long walking stick she carried in Act 1 became a new fashion accessory. Both a leopard in a famous New York
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and an American race horse were named in honour of the play's heroine, as were numerous dishes, several of them created by the French chef,
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for 100,0000 francs, before it had even premiered in Paris. As had happened at the Paris premiere, a charge of plagiarism was soon brought.
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Tosca remained in Davenport's repertoire until the end of her career. After her death in 1898, her husband continued to tour the play with
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s critical reception was in sharp contrast to that of the opening night audience. The Parisian critics roundly attacked the play with
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Favre (4 December 1887) p. 361. Quote in the original French: "...cette pièce vulgaire, sans intrigue, sans caractères, sans moeurs."
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1073:. Scarpia orders his men to take Cavaradossi to the Castel Sant'Angelo for execution and orders Tosca to be brought there as well.
949:, and its subsequent fall in 1799 when the French withdrew from Rome. Following the French withdrawal, Rome was controlled by the
381:) and whose heroine (like Tosca) is a celebrated opera singer. He also claimed that he had read the play to Sarah Bernhardt and
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adaptations. A hand-coloured version starring Sarah Bernhardt was made in 1906 by Le Film d'Art, a French film company run by
1209:. According to Barrymore, he had given a copy of his play to Sarah Bernhardt in 1885, and she had then given it to Sardou. In
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where it ran for 57 nights and starred in another major Parisian revival in 1909, six months to the day after Sardou's death.
2606:, Catalogue of the exhibition held at the Museo Nazionale di Villa Guinigi, Lucca, 2–27 February 2000. Retrieved 9 July 2010.
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in the title role. Other prominent actresses who portrayed Floria Tosca in the play's heyday were the British actresses
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Tosca's Act 1 costume designed by Hohenstein for the opera's premiere and virtually identical to Bernhardt's original.
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told her it marked him as a revolutionary. To deflect these suspicions, he offered to do a painting in the church of
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Some plot descriptions and early reviews say that Tosca throws herself from the Castel Sant'Angelo into the river
1562:. Later films tended to be adaptations of Puccini's opera rather than Sardou's play with the notable exception of
1185:, as Cavaradossi. The "Davenport Tosca" opened in New York City on 3 March 1888 and inaugurated the luxurious new
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293:. She was in her mid-40s by then and France's leading actress. In 1883, she had also taken over the lease on the
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in the title role and went on to successful premieres in London, New York, and Paris. The Paris premiere at the
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was to premiere. It was the third play Sardou had written specifically for her. Both their first collaboration,
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Adams (1891) pp. 172–173 (contains the lyrics for one of the songs from the show, "I am the Bad Baron Scarpia")
1205:, had been plagiarised by Sardou and sought an injunction to stop Davenport putting on further performances of
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Howard (1891) pp. 6–8 (contains a detailed description of the show). See also Stape and Simmons (2007) p. 108
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Richards (2007) p. 172. The equivalent of 500,000 French francs in 1900 was over 1 million US dollars in 2006
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themes, and a plot glorifying the Bonapartists as the 100th anniversary of the French Revolution approached.
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369:) made the accusation, claiming that four years earlier, he and Gilbert-Augustin Thierry had written a play,
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1986:. However, this is physically impossible given the castle's location. Sardou's stage directions simply say:
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had been adapted into an English novel by Arthur D. Hall in 1888, and had two adaptations for traditional
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in 1958, but by then the play itself had completely disappeared from the standard theatrical repertoire.
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See Walkley (1892/2009) pp. 86–91; Lemaître (28 November 1887) pp. 136–148; and Mason (1906/2008) p. 441
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in Rome and once owned the country villa which Cavaradossi now rents. His father had strong ties with
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The chapel at the Castel Sant'Angelo and a platform on the roof of the castle at dawn on 18 June 1800
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plot centers on Floria Tosca, a celebrated opera singer; her lover, Mario Cavaradossi, an artist and
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which also played a part: the "exotic" Italian setting with sumptuous sets and costumes, the play's
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had its US premiere within four months of its Paris opening, performed in English translation with
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as Tosca, and released it in 1908. The Bernhardt version re-surfaced and was released in 1912 by
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s of Sardou and Puccini" in Deborah Burton, Susan Vandiver Nicassio, and Agostino Ziino (eds.),
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on 41st Street. Davenport had previously bought the rights to the American premiere of Sardou's
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chapel incorporates a shallow chamber separated from the main part of the chapel by a grille.
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was described as "stagey and old-fashioned" in contrast to the naturalness of Sarah Bernhardt.
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990:. When Gennarino and Eusèbe leave, Angelotti, a Republican fugitive who has escaped from the
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fighting on behalf of the monarchy in Naples and was made a baron by Ferdinand IV in 1800.
179:. The action takes place over an eighteen-hour period, ending at dawn on 18 June 1800. Its
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and threatened to walk out. Bernhardt was eventually pacified and rehearsals continued.
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called it a "vulgar piece, without intrigue, without characters, without morals". The
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2753:"The Meijin Kurabe of Sanyutei Encho: An Original Approach to Western Drama in Japan"
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558:
489:
443:
374:
320:
221:
176:
131:
89:
1373:
1314:
1193:, and had made a fortune from it. She bought the rights to the American premiere of
794:
553:, where she had been found as a child, roaming the hillsides and herding sheep. The
37:
3331:
3307:
3284:
3154:
2910:
2763:
2191:
1888:
See Deborah Burton's notes to the English translation of Sardou (1887) Act 2, p. 24
1539:
1511:
1500:
1339:
1289:
1272:
581:
577:
503:
242:
213:
203:
158:
135:
99:
60:
2707:
Renegades, Showmen & Angels: A Theatrical History of Fort Worth from 1873–2001
1456:
199:
3232:
3049:
2999:
1634:
1606:
1594:
1442:
1268:
1240:
1178:
1138:
1101:
body and puts the crucifix on his chest before quietly slipping out of the room.
650:
453:
Camille Dumény as Mario Cavaradossi, complete with his "revolutionary's mustache"
391:
366:
290:
148:
143:
48:
2536:"Story of Tosca, Italian Film Dealing With Puccini Opera, Opens at Cinema Dante"
1558:
as Tosca. Only fragments remain of the Italian film made the same year starring
1543:
3374:
2966:
2954:
2775:
2617:
1919:, University of Chicago Press, based on Nicassio (1999). Retrieved 3 July 2010.
1694:
1679:
1646:
1575:
1514:, both performed in 1891. In the Japanese adaptations, the famed story-teller,
1484:
1476:
1333:
the story enobles itself magically in the hands of the greatest living actress.
1323:
1158:
1011:
439:
43:
2970:
2962:
1491:
into an opera, although Verdi thought the ending had to be changed. Puccini's
615:
3431:
2974:
2958:
2922:
2238:
1260:
1251:
who toured the play in Australia and New Zealand; and the Italian actresses,
1232:
987:
511:
481:
342:
2994:
Schickling, Dieter, "Fictional Reality: Musical and Literary Imagery in the
1597:
and the composer Florian Pascal wrote a musical parody of the play entitled
1384:
intensely disliked all of Sardou's work, and not surprisingly characterised
442:, another minor character, Princesse Orlonia, is probably based on Princess
3390:
1496:
1460:
1396:
1244:
1097:
564:
540:
2821:"Miss Davenport Wins; Barrymore's claim to 'La Tosca' Decided Against Him"
1301:
Considered by Jerome Hart to be the most emotional of all Sardou's plays,
3408:
2585:
2207:
1630:
1579:
1531:
1377:
1070:
957:
on 4 June 1800. Then on 14 June 1800, three days before the play begins,
809:
623:
324:
121:
2195:
1668:
169:(all of which premiered in the 1890s) as well as several film versions.
3017:
Dressed for the Photographer: Ordinary Americans and Fashion, 1840–1900
2982:
Highbrow/Lowdown: Theater, Jazz, and the Making of the New Middle Class
2186:(15 October 1894) p. 2 and (5 June 1891) p. 3; James (2006) p. 144 and
1475:
in Italy when Bernhardt toured the play there and asked his publisher,
1744:. The latter actually has a potential hiding place for Angelotti. Its
1038:
917:
585:
8th-century church dedicated to her there is one of the oldest in the
1745:
1729:
1404:
1310:
1210:
1032:
983:
715:
573:
536:
524:
493:
232:, six of his other plays were set against the events of those times:
180:
3315:
303:
3347:
3253:
3110:
of the opera in the original Italian and in English translation by
3107:
2883:
2402:
A Book of Burlesque, Sketches of English Stage Travestie and Parody
2370:
1492:
958:
569:
329:
217:
184:
175:
is set in Rome on 17 June 1800 following the French victory in the
2759:, XXIX/No. 2, January 2002, pp. 14–16. Retrieved 9 July 2010.
580:
to great acclaim. When Cavaradossi met her she was singing at the
472:
was returned as ruler, he fled to Rome where he became one of the
3382:
2869:, Issue 1880, 2 December 1887, p. 28. Retrieved 9 July 2010.
1092:
1023:
997:
507:
435:
220:'s army in Italy, and Sardou retained a lifelong interest in the
2879:, Issue 1885, 6 January 1888, p. 28. Retrieved 9 July 2010.
2529:"La Tosca visionaria e disperata di Dalla arriva al Gran Teatro"
1728:("O Scarpia, before God!"). The opera also gives Cavaradossi a
430:; Prince Diego Naselli, the Governor of Rome; and the composer,
2643:"Roll Over, Puccini: 'Tosca' Has Been Pumped Up and Plugged In"
2461:"Pauline Frederick in "La Tosca" Feature at the Strand Theater"
2203:
1527:
1427:
1293:(21 July 1888) where his performance in the London premiere of
1066:
596:
586:
550:
461:
2849:
Tosca's Rome: The Play and the Opera in Historical Perspective
2410:"Guerilla Cinematheque Comes of Age: The Pacific Film Archive"
1599:
Tra-la-la Tosca or The High-Toned Soprano and the Villain Bass
3213:
3038:
in Stape and Simmons (eds.), Rodopi, 2007, pp. 106–116.
1983:
1955:
Nicassio (1999) pp. 118–119. See also Burton (1993) pp. 67–86
1699:
1447:
1247:
who was still playing the role in 1920; the American actress
1096:
Tosca demands that Scarpia also give her a document granting
1001:
which has been ordered to give thanks for the French defeat.
600:
514:, and his mother was a grand-niece of the French philosopher
153:
124:
2801:"Bernhardt as La Tosca Complete Success of Her Reappearance"
2691:
Sarah Bernhardt: Reine de l'attitude et princesse des gestes
532:
365:("Author's rights"). This time Ernest Daudet (a brother of
1518:, set the work during the period of the 1837 rebellion by
3054:(originally published in 1892), BiblioBazaar, LLC, 2009.
1654:
3001:
Tosca's Prism: Three Moments of Western Cultural History
1653:
continues to be performed in Italy and was broadcast on
1086:
in the hours of darkness before the dawn of 18 June 1800
1060:
Cavaradossi's country villa on the night of 17 June 1800
619:
Sarah Bernhardt as Floria Tosca in her costume for Act 1
3147:
2565:, Les Annales politiques et littéraires 4 December 1887
2512:(originally published in 1902), Ayer Publishing, 1980.
2038:(28 April 1888) p. 8. For a description of Barrymore's
2793:, 18 September 1887, p. 1. Retrieved 9 July 2010.
1108:
The Castel Sant'Angelo depicted in the early 1800s by
2892:, Vol. 122, No. 1665, November 1981, pp. 743–745
2783:, 13 February 1884, p. 4. Retrieved 9 July 2010.
2771:, 28 February 1941, p. 3. Retrieved 9 July 2010.
1669:
Differences between Sardou's play and Puccini's opera
982:
Gennarino (Cavaradossi's manservant) and Eusèbe (the
2843:, 15 October 1894, p. 2. Retrieved 9 July 2010.
754:
gentleman companion to the Marquise Giulia Attavanti
138:. It was first performed on 24 November 1887 at the
1042:Tosca places candles by Scarpia's body in Act 4 of
2939:, Continuum International Publishing Group, 2007.
2823:, 28 April 1888, p. 8. Retrieved 9 July 2010.
2741:(originally published in 1906), Read Books, 2008.
2678:, Continuum International Publishing Group, 2006.
2435:(originally published in 1923), Read Books, 2008.
2334:Durgnat (1974) p. 213; Crowther (19 December 1947)
1678:are alluded to in the opera. The gathering at the
1031:courtiers, musicians, Austrian army officers, and
704:Neapolitan courtier and Angelotti's brother-in-law
373:, which takes place in Paris on the day after the
2936:Sir Henry Irving: A Victorian Actor and His World
2928:"What the Ladies are Wearing for Fall and Winter"
2813:, 4 March 1888, p. 5. Retrieved 9 July 2010.
2728:, 28 November 1887, collected in Jules Lemaître,
1459:in 1903 was performed in a French translation by
1346:but he had little admiration for Sardou's drama:
1287:Pierre Berton as Baron Scarpia in a cartoon from
3429:
2833:, 5 June 1891, p. 3. Retrieved 9 July 2010.
2463:, 27 May 1918, p. 3. Retrieved 9 July 2010.
1451:which premiered in Rome on 14 January 1900 with
1426:, who played Baron Scampia Scarpia, in the 1890
1589:Shortly after the first London performances of
2791:"Reflections on Sardou's Honesty as an Author"
2660:, Vol. XIL, July–December 1888, pp. 97–98
1964:Original cast members taken from Sardou (1887)
1239:who performed the role in English at London's
3269:
3133:
2726:, drame en cinq actes de M. Victorien Sardou"
1723:
264:'s etchings of late 18th century Rome, where
2953:, 1887, in annotated English translation by
2447:"Sardou and Sardoodledom, Puccini and Tosca"
1987:
1717:
961:'s troops fought the Austrian forces at the
856:the caretaker at Cavaradossi's country villa
360:
354:
216:'s grandfather had served as a surgeon with
1363:went so far as to warn American women that
3276:
3262:
3140:
3126:
3094:– Complete play in the original French on
2732:(2e série), Société française d'imprimerie
2542:, 19 December 1947. Retrieved 9 July 2010.
2531:, 11 December 2009. Retrieved 9 July 2010.
2477:"The Real Scarpia: Historical Sources for
194:
36:
2466:Berton, Thérèse Meilhan and Woon, Basil,
2414:Chronicle of the University of California
1992:("She throws herself into the emptiness")
468:. When it fell to the British forces and
398:premiere. However, the Parisian journal,
2666:Dramatic Notes: A Yearbook of the Stage
2551:, University of California Press, 1974.
2154:
2009:
2007:
1697:in the premiere production of Puccini's
1685:
1659:
1418:
1282:
1133:
1103:
1037:
978:in Rome on the afternoon of 17 June 1800
916:
622:
614:
518:. Cavaradossi studied art in Paris with
448:
411:
270:
198:
147:mid-1920s, but its operatic adaptation,
3004:, Northeastern University Press, 2004.
2899:, Northeastern University Press, 2002.
1791:Berton and Woon (1923) pp. 101–104 and
1487:had both expressed interest in turning
3430:
3030:Stape, John Henry and Simmons, Allan,
2984:, University of Michigan Press, 2009.
2918:, Vol. XCIV, 21 July 1888, p. 28.
2034:The account of the court case is from
1907:
1905:
1903:
1129:
3257:
3121:
3020:, Kent State University Press, 1995.
2852:, University of Chicago Press, 1999.
2649:, 31 May 2004. Retrieved 9 July 2010.
2597:, 3 June 2010. Retrieved 9 July 2010.
2506:Clapp, John B. and Edgett, Edwin F.,
2487:, Vol. 10, No. 2, 1993 pp. 67–86
2210:Tosca, and Saddle of veal Ă la Tosca.
2004:
1864:
1399:. Sarah Bernhardt's costumes brought
1319:Les Annales politiques et littéraires
941:is set against the background of the
933:
903:Procureur fiscal (public prosecutor)
867:Prince of Aragon and Governor of Rome
3283:
3032:"Tosca's Kiss: Sardou, Puccini, and
2496:, Cambridge University Press, 1985.
2295:Mastrangelo (January 2002) pp. 14–16
1267:, and an English version adapted by
311:(1884), had been highly successful.
2722:"Théâtre de la Porte Saint-Martin:
2613:, Rand, McNally & Company, 1888
2574:, Opera Journeys Publishing, 2005.
2385:" can also be translated as "scum".
1900:
1870:Clapp and Edgett (1902/1980) p. 272
1773:Perusse (November 1981) pp. 743–745
1550:. There was also a 1918 version by
1181:in the title role and her husband,
13:
2198:Tosca can be found in Escoffier's
2076:Hart (1913) p. 97; Lemaître p. 148
1913:"Ten Things You Didn't Know about
1879:Schlickling (2004) pp. 124 and 130
1391:Despite the views of the critics,
921:Tosca and Cavaradossi in Act 1 of
377:(roughly the same time-setting as
14:
3494:
3082:
2769:"French Company Give Sardou Play"
359:("Ideas of others") and another,
834:a lady at Marie Caroline's court
610:
464:and defender of the short-lived
460:had been a wealthy landowner in
295:Théâtre de la Porte Saint-Martin
140:Théâtre de la Porte Saint-Martin
79:Théâtre de la Porte Saint-Martin
3448:French plays adapted into films
2757:The Japan Foundation Newsletter
2416:, Spring 2004, pp. 147–159
2375:
2355:
2346:
2337:
2328:
2319:
2307:
2298:
2289:
2280:
2271:
2262:
2253:
2231:
2222:
2213:
2176:
2163:
2145:
2136:
2127:
2118:
2109:
2100:
2088:
2079:
2070:
2061:
2049:
2028:
2016:
1995:
1976:
1967:
1958:
1949:
1940:
1931:
1928:Nicassio (1999) pp. 35 and 102f
1922:
1891:
1882:
1873:
1851:
2453:, 2009. Retrieved 9 July 2010.
2124:Quoted in Savran (2009) p. 229
1839:
1827:
1815:
1806:
1797:
1785:
1776:
1767:
1758:
1437:The most famous adaptation of
1414:
1014:on the evening of 17 June 1800
627:Pierre Berton as Baron Scarpia
523:mustache was suspect. Tosca's
1:
2951:La Tosca, drame en cinq actes
2803:, 12 December 1887, p. 2
2469:Sarah Bernhardt as I knew her
2106:Nicassio (1999) pp. 13 and 15
1751:
1625:(1885), both of which ran at
426:are real historical figures:
407:
2675:Escoffier: The King of Chefs
2669:, Hutchinson & Co., 1891
2472:, Hurst & Blackett, 1923
2361:See Horowitz (31 May 2004);
1989:"Elle se lance dans le Vide"
1278:
1201:claimed that his 1884 play,
1082:Scarpia's apartments in the
732:a French aristocrat in exile
541:Italian Wars of Independence
7:
3067:Merely Players: The Scripts
2738:Bibliography of Oscar Wilde
2619:Sardou and the Sardou Plays
2277:Nicassio (1999) pp. 272–274
2259:Phillips-Matz, pp. 106–107.
1530:. There were at least four
945:, the establishment of the
912:
659:an artist and Tosca's lover
476:of the equally short lived
280:Sarah Bernhardt as La Tosca
206:in an 1882 caricature from
10:
3499:
3483:Napoleonic Wars in fiction
2895:Phillips-Matz, Mary Jane,
2846:Nicassio, Susan Vandiver,
2399:Adams, William Davenport,
2392:
2067:Punch (21 July 1888) p. 28
1725:"O Scarpia, avanti a Dio!"
1411:, a devotee of Bernhardt.
1183:Willet Melbourne MacDowell
422:Three minor characters in
307:(1882), and their second,
18:
3458:Plays by Victorien Sardou
3453:Plays adapted into operas
3401:
3366:
3356:The Affair of the Poisons
3291:
3205:
3162:
3048:Walkley, Arthur Bingham,
2831:"La Tosca Makes a Record"
2420:(Les) Archives théâtrales
2371:www.toscamoredisperato.it
2200:A Guide to Modern Cookery
2194:of salmon Ă la Tosca and
1937:Nicassio (1999) pp. 67–69
1911:Susan Vandiver Nicassio,
1657:television in June 2010.
1317:. Jules Favre writing in
943:French Revolutionary Wars
646:a celebrated opera singer
226:French Revolutionary Wars
105:
95:
85:
74:
66:
56:
35:
30:
21:La Tosca (disambiguation)
2977:. Retrieved 9 July 2010.
2811:"The New Theatre Opened"
2781:"Modjeska in a New Play"
2600:Girardi, Michele (ed.),
2202:. Other dishes included
2046:(13 February 1884) p. 4.
1824:(18 September 1887) p. 1
1738:Sant'Andrea al Quirinale
1253:Teresa Boetti Valvassura
1145:in its American premiere
1141:in costume for Act 1 of
1115:
1076:
1054:
1004:
976:Sant'Andrea al Quirinale
968:
803:Cavaradossi's manservant
720:Sant'Andrea al Quirinale
670:Baron Vitellio Scarpia,
529:Sant'Andrea al Quirinale
16:Play by Victorien Sardou
3114:at the Internet Archive
3112:William Beatty-Kingston
2841:"La Tosca Has Two Cubs"
2631:, Pan Macmillan, 2003.
2405:, Henry & Co., 1891
2115:Howard (1888) pp. 97–98
2097:(12 December 1987) p. 2
2058:(28 February 1941) p. 3
1946:Burton (1993) pp. 67–86
1859:Les Archives théâtrales
1836:(2 December 1887) p. 28
1742:Sant'Andrea della Valle
1169:Théâtre Sarah Bernhardt
1010:A large chamber in the
769:Prosper Étienne Bouyer
765:Captain of the riflemen
672:Rome's Regent of Police
568:and went on to sing at
276:Pinckney Marcius-Simons
195:Background and premiere
3463:Plays set in the 1800s
3051:Play House Impressions
2751:Mastrangelo, Matilde,
2730:Impressions de théâtre
2622:, J.B.Lippincott, 1913
2616:Hart, Jerome Alfred,
2493:Giacomo Puccini, Tosca
2457:Berkeley Daily Gazette
2325:Amazonas (2004) p. 154
2314:Berkeley Daily Gazette
2169:Severa (1995) p. 375;
2142:Quoted in Baker (2009)
1988:
1861:(December 1887) p. 346
1848:(6 January 1888) p. 28
1764:Richards (2007) p. 172
1724:
1719:"J'y vais, canailles!"
1718:
1703:
1693:'s set design for the
1665:
1651:Tosca, Amore Disperato
1639:Tosca, Amore Disperato
1434:
1370:Arthur Bingham Walkley
1352:
1335:
1298:
1217:s only resemblance to
1146:
1112:
1051:
930:
730:Vicomte de Trévilhac,
628:
620:
593:Baron Vitellio Scarpia
454:
419:
361:
355:
282:
210:
2593:Tosca amore disperato
1812:Joannis (2000) p. 119
1782:Hochman (1984) p. 312
1689:
1663:
1643:Tosca, Desperate Love
1566:'s 1941 Italian film
1526:adapted the play for
1422:
1348:
1330:
1286:
1271:was broadcast on the
1137:
1107:
1071:concealed in his ring
1041:
920:
626:
618:
452:
415:
274:
202:
3415:The Incredible Sarah
2897:Puccini: A Biography
2884:"Tosca and Piranesi"
2688:Joannis, Claudette,
2603:Tosca 1800 1900 2000
2563:"Causerie Théâtrale"
2509:Plays of the Present
2365:(11 December 2009);
2206:Tosca, Tosca Punch,
1857:Hart (1913) p. 121;
1676:Queen Maria Carolina
1633:composed an Italian
1629:in London. In 2004,
1471:). Puccini had seen
1249:Cora Urquhart Potter
1048:Le Théâtre illustrée
927:Le Théâtre illustrée
819:Reine Marie Caroline
535:, the birthplace of
428:Queen Maria Carolina
417:Queen Maria Carolina
19:For other uses, see
3443:Fiction set in 1800
3240:E lucevan le stelle
3070:, iUniverse, 2003.
2949:Sardou, Victorien,
2933:Richards, Jeffrey,
2710:, TCU Press, 2006.
2628:Seven Ages of Paris
2524:Corriere della Sera
2485:The Opera Quarterly
2451:San Francisco Opera
2449:, Programme Notes,
2369:(3 June 2010); and
2363:Corriere della Sera
2268:Carner (1985) p. 14
2228:Fisher (2005) p. 23
2219:Carner (1985) p. 12
2151:Fisher (2005) p. 21
2025:(4 March 1888) p. 5
2001:Horne (2003) p. 339
1734:E lucevan le stelle
1732:in the final act, "
1382:George Bernard Shaw
1237:Fanny Bernard-Beere
1225:Measure for Measure
1130:Performance history
1110:Sylvester Shchedrin
832:Princesse Orlonia,
702:Marquis Attavanti,
657:Mario Cavaradossi,
520:Jacques-Louis David
466:Neapolitan Republic
317:Auguste Alfred Rubé
3468:Plays set in Italy
3089:Victorien Sardou:
2930:, 11 November 1888
2882:Perusse, Lyle F.,
2877:"Notes by Pasquin"
2867:"Notes by Pasquin"
2595:Stasera su Raiuno"
2534:Crowther, Bosley,
2316:(27 May 1918) p. 3
2304:Wynn (2003) p. 193
2239:"Opera Statistics"
2173:(11 November 1888)
2013:Jones (2006) p. 70
1704:
1666:
1584:The Story of Tosca
1552:Paramount Pictures
1548:Universal Pictures
1524:Fukuchi Gen'ichirĹŤ
1481:Alberto Franchetti
1435:
1299:
1147:
1113:
1084:Castel Sant'Angelo
1052:
992:Castel Sant'Angelo
934:Historical context
931:
790:the court composer
683:Cesare Angelotti,
629:
621:
549:is an orphan from
455:
432:Giovanni Paisiello
420:
356:"Idées des autres"
283:
211:
189:Castel Sant'Angelo
109:Rome, 17 June 1800
3473:Plays set in Rome
3425:
3424:
3251:
3250:
3226:Recondita armonia
3220:Tosca discography
3101:Giacomo Puccini:
3096:Project Gutenberg
3014:Severa, Joan L.,
2889:The Musical Times
2720:Lemaître, Jules,
2641:Horowitz, Jason,
2625:Horne, Alistair,
2611:La Tosca: A novel
2609:Hall, Arthur D.,
2545:Durgnat, Raymond
2475:Burton, Deborah,
1603:burlesque version
1572:Imperio Argentina
1560:Francesca Bertini
1556:Pauline Frederick
1469:Tosca discography
1445:'s Italian opera
1409:Auguste Escoffier
1401:Empire silhouette
1357:Fort Worth, Texas
1307:Francisque Sarcey
1199:Maurice Barrymore
963:Battle of Marengo
951:Kingdom of Naples
910:
909:
886:Scarpia's servant
876:Huissier (usher)
639:24 November 1887
559:Domenico Cimarosa
555:Benedictine monks
500:Mario Cavaradossi
490:Liborio Angelucci
375:Battle of Marengo
321:Philippe Chaperon
289:specifically for
238:Les Merveilleuses
228:. In addition to
222:French Revolution
177:Battle of Marengo
113:
112:
86:Original language
51:in the title role
3490:
3340:Madame Sans-GĂŞne
3285:Victorien Sardou
3278:
3271:
3264:
3255:
3254:
3155:Victorien Sardou
3142:
3135:
3128:
3119:
3118:
3034:The Secret Agent
2916:"Sarah La Tosca"
2764:Montreal Gazette
2672:James, Kenneth,
2568:Fisher, Burton,
2429:Arthur, George,
2386:
2379:
2373:
2359:
2353:
2350:
2344:
2341:
2335:
2332:
2326:
2323:
2317:
2311:
2305:
2302:
2296:
2293:
2287:
2284:
2278:
2275:
2269:
2266:
2260:
2257:
2251:
2250:
2248:
2246:
2235:
2229:
2226:
2220:
2217:
2211:
2180:
2174:
2167:
2161:
2158:
2152:
2149:
2143:
2140:
2134:
2131:
2125:
2122:
2116:
2113:
2107:
2104:
2098:
2092:
2086:
2083:
2077:
2074:
2068:
2065:
2059:
2056:Montreal Gazette
2053:
2047:
2032:
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2020:
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2002:
1999:
1993:
1991:
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1971:
1965:
1962:
1956:
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1795:
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1762:
1727:
1721:
1578:as Cavaradossi.
1540:Charles le Bargy
1520:ĹŚshio HeihachirĹŤ
1512:Japanese theatre
1501:Giuseppe Giacosa
1453:Hariclea Darclée
1273:BBC Home Service
1187:Broadway Theatre
807:Suzanne Seylor (
631:
630:
605:irregular troops
582:Teatro Argentina
578:Teatro San Carlo
504:Piazza di Spagna
486:William Hamilton
458:Cesare Angelotti
364:
358:
249:Madame Sans-GĂŞne
214:Victorien Sardou
208:Le Trombinoscope
159:Japanese theatre
136:Victorien Sardou
100:Historical drama
70:24 November 1887
61:Victorien Sardou
40:
28:
27:
3498:
3497:
3493:
3492:
3491:
3489:
3488:
3487:
3478:Sarah Bernhardt
3428:
3427:
3426:
3421:
3397:
3362:
3300:The Black Pearl
3287:
3282:
3252:
3247:
3201:
3158:
3146:
3085:
3080:
2980:Savran, David,
2735:Mason, Stuart,
2694:, Payot, 2000.
2663:Howard, Cecil,
2652:Howard, Cecil,
2571:Puccini's Tosca
2490:Carner, Mosco,
2432:Sarah Bernhardt
2395:
2390:
2389:
2380:
2376:
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2017:
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1798:
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1786:
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1777:
1772:
1768:
1763:
1759:
1754:
1671:
1627:Toole's Theatre
1607:Royalty Theatre
1595:Francis Burnand
1536:André Calmettes
1516:San'yūtei Enchō
1443:Giacomo Puccini
1432:Tra-La-La Tosca
1417:
1281:
1269:Norman Ginsbury
1241:Garrick Theatre
1179:Fanny Davenport
1139:Fanny Davenport
1132:
1118:
1079:
1057:
1007:
971:
936:
915:
865:Diego Naselli,
823:Queen of Naples
725:Pierre Lacroix
651:Sarah Bernhardt
638:
613:
410:
392:Fanny Davenport
383:FĂ©lix Duquesnel
367:Alphonse Daudet
362:"Bien d'auteur"
291:Sarah Bernhardt
197:
167:Tra-La-La Tosca
161:and an English
149:Giacomo Puccini
144:Sarah Bernhardt
142:in Paris, with
75:Place premiered
52:
49:Sarah Bernhardt
47:
24:
17:
12:
11:
5:
3496:
3486:
3485:
3480:
3475:
3470:
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3460:
3455:
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3423:
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3419:
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3405:
3403:
3399:
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3395:
3387:
3379:
3375:Le roi Carotte
3370:
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3209:
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3199:
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3175:
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3160:
3159:
3145:
3144:
3137:
3130:
3122:
3116:
3115:
3098:
3084:
3083:External links
3081:
3079:
3078:
3062:
3046:
3028:
3012:
2992:
2978:
2955:Deborah Burton
2947:
2931:
2919:
2907:
2893:
2880:
2870:
2860:
2844:
2837:New York Times
2834:
2827:New York Times
2824:
2817:New York Times
2814:
2807:New York Times
2804:
2797:New York Times
2794:
2787:New York Times
2784:
2776:New York Times
2772:
2760:
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2686:
2670:
2661:
2650:
2647:New York Times
2639:
2623:
2614:
2607:
2598:
2582:
2566:
2561:Favre, Jules,
2559:
2543:
2540:New York Times
2532:
2520:
2504:
2488:
2473:
2464:
2454:
2443:
2427:
2417:
2408:Amazonas, Lee
2406:
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2190:. Recipes for
2184:New York Times
2175:
2162:
2153:
2144:
2135:
2126:
2117:
2108:
2099:
2095:New York Times
2087:
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2069:
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2044:New York Times
2036:New York Times
2027:
2023:New York Times
2015:
2003:
1994:
1975:
1966:
1957:
1948:
1939:
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1822:New York Times
1814:
1805:
1796:
1784:
1775:
1766:
1756:
1755:
1753:
1750:
1695:Farnese Palace
1680:Farnese Palace
1670:
1667:
1647:Giorgio Armani
1576:Rossano Brazzi
1528:Kabuki theatre
1485:Giuseppe Verdi
1477:Giulio Ricordi
1424:Arthur Roberts
1416:
1413:
1374:Jules Lemaître
1361:William Winter
1324:New York Times
1315:Jules Lemaître
1309:calling it a "
1280:
1277:
1257:Italia Vivanti
1159:Rio de Janeiro
1155:Lyceum Theatre
1131:
1128:
1117:
1114:
1078:
1075:
1056:
1053:
1012:Farnese Palace
1006:
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974:The church of
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955:Siege of Genoa
947:Roman Republic
935:
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795:FĂ©licia Mallet
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738:
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709:
708:Émile Francès
706:
699:
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695:
693:and a fugitive
691:Roman Republic
680:
679:
674:
667:
666:
664:Camille Dumény
661:
654:
653:
648:
644:Floria Tosca,
641:
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612:
609:
478:Roman Republic
440:Deborah Burton
409:
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234:Monsieur Garat
196:
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111:
110:
107:
103:
102:
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92:
87:
83:
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76:
72:
71:
68:
67:Date premiered
64:
63:
58:
54:
53:
44:Alphonse Mucha
41:
33:
32:
15:
9:
6:
4:
3:
2:
3495:
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3404:
3402:Miscellaneous
3400:
3393:
3392:
3388:
3385:
3384:
3380:
3377:
3376:
3372:
3371:
3369:
3365:
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3297:
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3237:
3234:
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3227:
3223:
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3218:
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3216:
3215:
3211:
3210:
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3188:
3184:
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3176:
3173:
3172:
3168:
3167:
3165:
3161:
3156:
3152:
3151:
3143:
3138:
3136:
3131:
3129:
3124:
3123:
3120:
3113:
3109:
3105:
3104:
3099:
3097:
3093:
3092:
3087:
3086:
3077:
3076:0-595-27371-8
3073:
3069:
3068:
3064:Wynn, David,
3063:
3061:
3060:1-110-57343-X
3057:
3053:
3052:
3047:
3045:
3044:90-420-2176-4
3041:
3037:
3035:
3029:
3027:
3026:0-87338-512-8
3023:
3019:
3018:
3013:
3011:
3010:1-55553-616-6
3007:
3003:
3002:
2997:
2993:
2991:
2990:0-472-11692-4
2987:
2983:
2979:
2976:
2972:
2968:
2964:
2960:
2956:
2952:
2948:
2946:
2945:1-85285-591-6
2942:
2938:
2937:
2932:
2929:
2925:
2924:
2923:Reading Eagle
2920:
2917:
2913:
2912:
2908:
2906:
2905:1-55553-530-5
2902:
2898:
2894:
2891:
2890:
2885:
2881:
2878:
2874:
2873:Otago Witness
2871:
2868:
2864:
2863:Otago Witness
2861:
2859:
2858:0-226-57972-7
2855:
2851:
2850:
2845:
2842:
2838:
2835:
2832:
2828:
2825:
2822:
2818:
2815:
2812:
2808:
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2802:
2798:
2795:
2792:
2788:
2785:
2782:
2778:
2777:
2773:
2770:
2766:
2765:
2761:
2758:
2754:
2750:
2748:
2747:1-4437-2845-4
2744:
2740:
2739:
2734:
2731:
2727:
2725:
2719:
2717:
2716:0-87565-318-9
2713:
2709:
2708:
2703:
2701:
2700:2-228-89357-9
2697:
2693:
2692:
2687:
2685:
2684:1-85285-526-6
2681:
2677:
2676:
2671:
2668:
2667:
2662:
2659:
2655:
2651:
2648:
2644:
2640:
2638:
2637:0-330-48864-3
2634:
2630:
2629:
2624:
2621:
2620:
2615:
2612:
2608:
2605:
2604:
2599:
2596:
2594:
2588:
2587:
2586:(Il) Giornale
2583:
2581:
2580:0-9771320-4-8
2577:
2573:
2572:
2567:
2564:
2560:
2558:
2557:0-520-02283-1
2554:
2550:
2549:
2544:
2541:
2537:
2533:
2530:
2526:
2525:
2521:
2519:
2518:0-405-08361-0
2515:
2511:
2510:
2505:
2503:
2502:0-521-29661-7
2499:
2495:
2494:
2489:
2486:
2482:
2480:
2474:
2471:
2470:
2465:
2462:
2458:
2455:
2452:
2448:
2445:Baker, Evan,
2444:
2442:
2441:1-4437-4068-3
2438:
2434:
2433:
2428:
2426:, p. 346
2425:
2424:December 1887
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2240:
2234:
2225:
2216:
2209:
2205:
2201:
2197:
2193:
2189:
2185:
2179:
2172:
2171:Reading Eagle
2166:
2157:
2148:
2139:
2130:
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2112:
2103:
2096:
2091:
2082:
2073:
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2057:
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2037:
2031:
2024:
2019:
2010:
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1990:
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1970:
1961:
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1918:
1916:
1908:
1906:
1904:
1894:
1885:
1876:
1867:
1860:
1854:
1847:
1846:Otago Witness
1842:
1835:
1834:Otago Witness
1830:
1823:
1818:
1809:
1800:
1794:
1788:
1779:
1770:
1761:
1757:
1749:
1747:
1743:
1740:to Puccini's
1739:
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1457:Opéra-Comique
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1383:
1379:
1375:
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1366:
1362:
1358:
1351:
1347:
1343:
1341:
1340:anti-clerical
1334:
1329:
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1320:
1316:
1312:
1308:
1304:
1296:
1292:
1291:
1285:
1276:
1274:
1270:
1266:
1262:
1261:Eleonora Duse
1259:(a cousin of
1258:
1254:
1250:
1246:
1242:
1238:
1234:
1233:Blanche Walsh
1229:
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1226:
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1029:
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1021:
1016:
1015:
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1002:
1000:
999:
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989:
988:Mary Magdalen
985:
980:
979:
977:
966:
964:
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928:
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766:
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761:
757:
755:
751:
750:
746:
744:
743:an aristocrat
740:
739:
735:
733:
729:
728:
724:
722:
721:
717:
712:
711:
707:
705:
701:
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688:
682:
681:
678:
677:Pierre Berton
675:
673:
669:
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660:
656:
655:
652:
649:
647:
643:
642:
637:Original cast
636:
633:
632:
625:
617:
611:Original cast
608:
606:
602:
598:
594:
590:
588:
583:
579:
575:
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566:
560:
556:
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538:
534:
530:
526:
521:
517:
513:
509:
505:
501:
497:
495:
491:
487:
483:
482:Emma Hamilton
479:
475:
471:
467:
463:
459:
451:
447:
445:
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437:
433:
429:
425:
418:
414:
405:
403:
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395:
393:
388:
384:
380:
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372:
368:
363:
357:
350:
348:
344:
340:
336:
332:
331:
326:
322:
318:
314:
313:Pierre Berton
310:
306:
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300:
296:
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285:Sardou wrote
281:
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267:
263:
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55:
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45:
39:
34:
29:
26:
22:
3413:
3391:Les barbares
3389:
3381:
3373:
3354:
3346:
3338:
3330:
3323:
3322:
3314:
3306:
3298:
3233:Vissi d'arte
3212:
3193:
3185:
3177:
3169:
3149:
3148:
3102:
3090:
3066:
3050:
3033:
3016:
3000:
2995:
2981:
2950:
2935:
2921:
2909:
2896:
2887:
2872:
2862:
2848:
2836:
2826:
2816:
2806:
2796:
2786:
2774:
2762:
2756:
2737:
2729:
2723:
2706:
2704:Jones, Jan,
2690:
2674:
2665:
2657:
2646:
2627:
2618:
2610:
2602:
2592:
2584:
2570:
2547:
2539:
2522:
2508:
2492:
2484:
2478:
2468:
2456:
2431:
2419:
2413:
2401:
2382:
2377:
2366:
2362:
2357:
2348:
2339:
2330:
2321:
2313:
2309:
2300:
2291:
2282:
2273:
2264:
2255:
2243:. Retrieved
2233:
2224:
2215:
2199:
2187:
2183:
2178:
2170:
2165:
2156:
2147:
2138:
2129:
2120:
2111:
2102:
2094:
2090:
2081:
2072:
2063:
2055:
2051:
2043:
2039:
2035:
2030:
2022:
2018:
1997:
1978:
1969:
1960:
1951:
1942:
1933:
1924:
1914:
1893:
1884:
1875:
1866:
1858:
1853:
1845:
1841:
1833:
1829:
1821:
1817:
1808:
1799:
1792:
1787:
1778:
1769:
1760:
1714:
1708:
1705:
1698:
1672:
1650:
1642:
1638:
1622:
1618:
1614:
1610:
1598:
1590:
1588:
1583:
1567:
1544:CĂ©cile Sorel
1507:
1505:
1497:Luigi Illica
1488:
1472:
1464:
1461:Paul Ferrier
1446:
1438:
1436:
1431:
1392:
1390:
1385:
1364:
1353:
1349:
1344:
1336:
1331:
1322:
1318:
1302:
1300:
1294:
1288:
1245:Ethel Irving
1243:in 1889 and
1230:
1223:
1218:
1214:
1206:
1202:
1194:
1190:
1174:
1173:
1163:
1149:
1148:
1142:
1124:
1120:
1119:
1098:safe conduct
1089:
1081:
1080:
1063:
1059:
1058:
1047:
1043:
1017:
1009:
1008:
996:
981:
973:
972:
938:
937:
926:
922:
885:
866:
855:
845:Tosca's maid
844:
833:
822:
808:
802:
789:
775:
774:Schiarrone,
764:
753:
742:
731:
714:
703:
684:
671:
658:
645:
592:
591:
563:
547:Floria Tosca
546:
545:
499:
498:
470:Ferdinand IV
457:
456:
423:
421:
399:
396:
386:
378:
370:
351:
347:Jeanne d'Arc
346:
338:
334:
328:
308:
302:
298:
286:
284:
279:
265:
257:
256:(1899), and
253:
247:
241:
237:
233:
229:
212:
207:
181:melodramatic
172:
171:
166:
152:
129:19th-century
116:
115:
114:
25:
3418:(1976 film)
3409:Eggs Sardou
3106:– Complete
2658:The Theatre
2548:Jean Renoir
2367:Il Giornale
2286:Hall (1888)
2241:. Operabase
1631:Lucio Dalla
1617:(1883) and
1615:Stage-Doora
1601:. In their
1580:Jean Renoir
1532:silent film
1493:librettists
1415:Adaptations
1378:Oscar Wilde
1265:Sita Riddez
884:Colometti,
838:Marie Auge
810:en travesti
801:Gennarino,
776:a policeman
387:Saint-Auban
371:Saint Aubin
333:, Sardou's
254:Robespierre
134:playwright
3438:1887 plays
3432:Categories
2654:"La Tosca"
2192:Mousseline
1752:References
1691:Hohenstein
1623:The O'Dora
1313:", as did
1211:affidavits
1033:monsignors
906:Cartereau
763:Spoletta,
758:Deschamps
752:Trevulce,
741:Capréola,
634:Character
576:, and the
512:d'Alembert
408:Characters
120:is a five-
57:Written by
42:Poster by
3332:Thermidor
1746:Barberini
1730:soliloquy
1570:starring
1564:Carl Koch
1506:Earlier,
1405:menagerie
1359:in 1892.
1311:pantomime
1303:La Tosca'
1279:Reception
1215:Nadjezda'
1028:Paisiello
984:sacristan
895:Sergeant
843:Luciana,
786:Paisiello
716:sacristan
574:La Fenice
537:Garibaldi
525:confessor
516:Helvétius
494:Carbonari
335:Cléopâtre
243:Thermidor
163:burlesque
46:depicting
3367:Libretti
3348:Gismonda
3324:La Tosca
3308:La Haine
3187:La Tosca
3179:La Tosca
3171:La Tosca
3150:La Tosca
3108:libretto
3091:La Tosca
2957:, 2004:
2724:La Tosca
2383:canaille
2196:consommé
2040:Nadjezda
1709:La Tosca
1619:Théodora
1591:La Tosca
1522:, while
1508:La Tosca
1489:La Tosca
1473:La Tosca
1439:La Tosca
1393:La Tosca
1386:La Tosca
1365:La Tosca
1295:La Tosca
1219:La Tosca
1207:La Tosca
1203:Nadjezda
1195:La Tosca
1175:La Tosca
1164:La Tosca
1150:La Tosca
1143:La Tosca
1093:scaffold
1044:La Tosca
959:Napoleon
939:La Tosca
923:La Tosca
913:Synopsis
871:Delisle
860:Gaspard
854:Ceccho,
713:Eusèbe,
595:is from
589:region.
570:La Scala
444:Torlonia
424:La Tosca
401:Gil Blas
379:La Tosca
339:Théodora
330:Ruy Blas
309:Théodora
299:La Tosca
297:, where
287:La Tosca
268:is set.
266:La Tosca
262:Piranesi
252:(1893),
246:(1891),
240:(1873),
236:(1860),
230:La Tosca
224:and the
218:Napoleon
185:Napoleon
173:La Tosca
117:La Tosca
31:La Tosca
3383:Patrie!
2967:Act III
2393:Sources
1635:musical
1611:FĂ©odora
1191:FĂ©odora
1050:, 1887)
1024:cantata
998:Te Deum
929:, 1887)
898:Besson
879:Dumont
849:Durand
827:Bauché
747:Joliet
736:Violet
689:of the
685:former
508:Diderot
474:Consuls
436:Livorno
343:Barbier
127:by the
106:Setting
81:, Paris
3394:(1901)
3386:(1886)
3378:(1872)
3359:(1907)
3351:(1894)
3343:(1893)
3335:(1891)
3327:(1887)
3319:(1882)
3316:FĂ©dora
3311:(1874)
3303:(1862)
3206:Operas
3198:(2001)
3190:(1973)
3182:(1918)
3174:(1909)
3157:(1887)
3074:
3058:
3042:
3024:
3008:
2988:
2971:Act IV
2963:Act II
2943:
2903:
2856:
2745:
2714:
2698:
2682:
2635:
2578:
2555:
2516:
2500:
2439:
2204:Sorbet
2188:passim
2042:, see
1793:passim
1428:parody
1397:francs
1067:Medici
780:Piron
697:Rosny
687:Consul
597:Sicily
587:Veneto
551:Verona
462:Naples
341:, and
304:FĂ©dora
258:Pamela
204:Sardou
132:French
90:French
3292:Plays
3214:Tosca
3195:Tosca
3163:Films
3103:Tosca
2996:Tosca
2975:Act V
2959:Act I
2911:Punch
2479:Tosca
2245:8 May
1984:Tiber
1915:Tosca
1700:Tosca
1568:Tosca
1554:with
1465:Tosca
1448:Tosca
1290:Punch
1116:Act 5
1077:Act 4
1055:Act 3
1020:Genoa
1005:Act 2
969:Act 1
890:JĂ©gu
601:satyr
154:Tosca
125:drama
96:Genre
3072:ISBN
3056:ISBN
3040:ISBN
3022:ISBN
3006:ISBN
2986:ISBN
2941:ISBN
2901:ISBN
2854:ISBN
2743:ISBN
2712:ISBN
2696:ISBN
2680:ISBN
2633:ISBN
2576:ISBN
2553:ISBN
2514:ISBN
2498:ISBN
2437:ISBN
2247:2011
2208:Sole
2182:See
1538:and
1499:and
1483:and
1441:was
1372:and
1255:and
565:Nina
533:Nice
510:and
337:and
325:Hugo
3153:by
1655:RAI
1621:as
1613:as
1026:by
718:of
345:'s
327:'s
151:'s
122:act
3434::
2973:,
2969:,
2965:,
2961:,
2926:,
2914:,
2886:,
2875:,
2865:,
2839:,
2829:,
2819:,
2809:,
2799:,
2789:,
2779:,
2767:,
2755:,
2656:,
2645:,
2589:,
2538:,
2527:,
2483:,
2459:,
2422:,
2412:,
2006:^
1902:^
1649:.
1637:,
1593:,
1586:.
1495:,
1430:,
821:,
813:)
788:,
572:,
543:.
496:.
349:.
319:,
278:,
165:,
3277:e
3270:t
3263:v
3242:"
3238:"
3235:"
3231:"
3228:"
3224:"
3141:e
3134:t
3127:v
3036:"
2591:"
2481:"
2381:"
2249:.
1917:"
1641:(
1046:(
925:(
23:.
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