Tosca - Knowledge

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filthy cop will pay for it."). Other changes are in the music; when Tosca demands the price for Cavaradossi's freedom ("Il prezzo!"), her music is changed to eliminate an octave leap, allowing her more opportunity to express her contempt and loathing of Scarpia in a passage which is now near the middle of the soprano vocal range. A remnant of a "Latin Hymn" sung by Tosca and Cavaradossi in act 3 survived into the first published score and libretto, but is not in later versions. According to Ashbrook, the most surprising change is where, after Tosca discovers the truth about the "mock" execution and exclaims "Finire così? Finire così?" ("To end like this? To end like this?"), she was to sing a five-bar fragment to the melody of "E lucevan le stelle". Ashbrook applauds Puccini for deleting the section from a point in the work where delay is almost unendurable as events rush to their conclusion, but points out that the orchestra's recalling "E lucevan le stelle" in the final notes would seem less incongruous if it was meant to underscore Tosca's and Cavaradossi's love for each other, rather than being simply a melody which Tosca never hears.

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the third act is much longer, and Cavaradossi's tragic aria, the eventual "E lucevan le stelle", has different words. The 1896 libretto also offers a different ending, in which Tosca does not die but instead goes mad. In the final scene, she cradles her lover's head in her lap and hallucinates that she and her Mario are on a gondola, and that she is asking the gondolier for silence. Sardou refused to consider this change, insisting that as in the play, Tosca must throw herself from the parapet to her death. Puccini agreed with Sardou, telling him that the mad scene would have the audiences anticipate the ending and start moving towards the cloakrooms. Puccini pressed his librettists hard, and Giacosa issued a series of melodramatic threats to abandon the work. The two librettists were finally able to give Puccini what they hoped was a final version of the libretto in 1898.

607: 1363:. Unlike Wagner, Puccini does not develop or modify his motifs, nor weave them into the music symphonically, but uses them to refer to characters, objects and ideas, and as reminders within the narrative. The most potent of these motifs is the sequence of three very loud and strident chords which open the opera and which represent the evil character of Scarpia—or perhaps, Charles Osborne proposes, the violent atmosphere that pervades the entire opera. Budden has suggested that Scarpia's tyranny, lechery and lust form "the dynamic engine that ignites the drama". Other motifs identify Tosca herself, the love of Tosca and Cavaradossi, the fugitive Angelotti, the semi-comical character of the sacristan in act 1 and the theme of torture in act 2. 1405: 514: 689: 47: 812: 930: 1227:, who performed the role many times in his forty-year operatic career, was one of the first to assume that the painter knows, or strongly suspects, that he will be shot. Gigli wrote in his autobiography: "he is certain that these are their last moments together on earth, and that he is about to die". Domingo, the dominant Cavaradossi of the 1970s and 1980s, concurred, stating in a 1985 interview that he had long played the part that way. Gobbi, who in his later years often directed the opera, commented, "Unlike Floria, Cavaradossi knows that Scarpia never yields, though he pretends to believe in order to delay the pain for Tosca." 1388:. The domination, in that aria, of themes which will be repeated in the love duet make it clear that though the painting may incorporate the Marchesa's features, Tosca is the ultimate inspiration of his work. Cavaradossi's dialogue with Angelotti is interrupted by Tosca's arrival, signalled by her motif which incorporates, in Newman's words, "the feline, caressing cadence so characteristic of her." Though Tosca enters violently and suspiciously, the music paints her devotion and serenity. According to Budden, there is no contradiction: Tosca's jealousy is largely a matter of habit, which her lover does not take too seriously. 1392:

with the choristers to celebrate Napoleon's supposed defeat provides almost the last carefree moments in the opera; after the entrance of Scarpia to his menacing theme, the mood becomes sombre, then steadily darker. As the police chief interrogates the sacristan, the "fugitive" motif recurs three more times, each time more emphatically, signalling Scarpia's success in his investigation. In Scarpia's exchanges with Tosca the sound of tolling bells, interwoven with the orchestra, creates an almost religious atmosphere, for which Puccini draws on music from his then unpublished

1044: 1646: 1190: 1307: 4804: 242: 1281:, while acknowledging the "enormously difficult business of boiling play down for operatic purposes", thought that the subtleties of Sardou's original plot are handled "very lamely", so that "much of what happens, and why, is unintelligible to the spectator". Overall, however, Newman delivered a more positive judgement: " operas are to some extent a mere bundle of tricks, but no one else has performed the same tricks nearly as well". Opera scholar 4815: 4977: 1114:, over many years at the Met and in Vienna, brought her own distinctive style to the role, and was said to be Puccini's favorite Tosca. Jeritza was the first to deliver "Vissi d'arte" from a prone position, having fallen to the stage while eluding the grasp of Scarpia. This was a great success, and Jeritza sang the aria while on the floor thereafter. Of her successors, opera enthusiasts tend to consider 1396:. The final scene in the act is a juxtaposition of the sacred and the profane, as Scarpia's lustful reverie is sung alongside the swelling Te Deum chorus. He joins with the chorus in the final statement "Te aeternum Patrem omnis terra veneratur" ("Everlasting Father, all the earth worships thee"), before the act ends with a thunderous restatement of the Scarpia motif. 1527:, however, argues that it is entirely logical to end this dark opera on its blackest theme. According to historian and former opera singer Susan Vandiver Nicassio: "The conflict between the verbal and the musical clues gives the end of the opera a twist of controversy that, barring some unexpected discovery among Puccini's papers, can never truly be resolved." 653:

cottage"). She then expresses jealousy over the woman in the painting, whom she recognises as the Marchesa Attavanti. Cavaradossi explains the likeness; he has merely observed the Marchesa at prayer in the church. He reassures Tosca of his fidelity and asks her what eyes could be more beautiful than her own: "Qual'occhio al mondo" ("What eyes in the world").

590:, sent this news south towards Rome. However, fresh French troops arrived in the late afternoon, and Napoleon attacked the tired Austrians. As Melas retreated in disarray with the remains of his army, he sent a second courier south with the revised message. The Neapolitans abandoned Rome, and the city spent the next fourteen years under French domination. 315:, Ricordi was able to get Franchetti to surrender the rights so he could recommission Puccini. One story relates that Ricordi convinced Franchetti that the work was too violent to be successfully staged. A Franchetti family tradition holds that Franchetti gave the work back as a grand gesture, saying, "He has more talent than I do." American scholar 1421:

according to Budden—is heard for the first time as a foretaste of what is to come. As Cavaradossi is brought in for interrogation, Tosca's voice is heard with the offstage chorus singing a cantata, " suave strains contrast dramatically with the increasing tension and ever-darkening colour of the stage action". The cantata is most likely the

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orders a search, and the empty food basket and a fan bearing the Attavanti coat of arms are found in the chapel. Scarpia questions the Sacristan, and his suspicions are aroused further when he learns that Cavaradossi has been in the church; Scarpia mistrusts the painter, and believes him complicit in Angelotti's escape.

891:. It was not until 29 September 1899 that Puccini was able to mark the final page of the score as completed. Despite the notation, there was additional work to be done, such as the shepherd boy's song at the start of act 3. Puccini, who always sought to put local colour in his works, wanted that song to be in 1027:. Shortly after the curtain was raised there was a disturbance in the back of the theatre, caused by latecomers attempting to enter the auditorium, and a shout of "Bring down the curtain!", at which Mugnone stopped the orchestra. A few moments later the opera began again, and proceeded without further disruption. 1293:

s immense popularity with audiences to the taut effectiveness of its melodramatic plot, the opportunities given to its three leading characters to shine vocally and dramatically, and the presence of two great arias in "Vissi d'arte" and "E lucevan le stelle". The work remains popular today: according

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wrote, " finds in his palette all colours, all shades; in his hands, the instrumental texture becomes completely supple, the gradations of sonority are innumerable, the blend unfailingly grateful to the ear." However, one critic described act 2 as overly long and wordy; another echoed Illica and

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and demanded changes. Puccini defended his music as expressive of what Cavaradossi must be feeling at that point, and offered to come to Milan to play and sing act 3 for the publisher. Ricordi was overwhelmed by the completed act 3 prelude, which he received in early November, and softened his views,

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The first draft libretto that Illica produced for Puccini resurfaced in 2000 after being lost for many years. It contains considerable differences from the final libretto, relatively minor in the first two acts but much more appreciable in the third, where the description of the Roman dawn that opens

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Cavaradossi is led away, and Tosca watches with increasing impatience as the firing squad prepares. The men fire, and Tosca praises the realism of his fall, "Ecco un artista!" ("What an actor!"). Once the soldiers have left, she hurries towards Cavaradossi, urging him, "Mario, su presto!" ("Mario, up

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She enters the apartment in time to see Cavaradossi being escorted to an antechamber. All he has time to say is that she mustn't tell them anything. Scarpia then claims she can save her lover from indescribable pain if she reveals Angelotti's hiding place. She resists, but the sound of screams coming

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When Tosca arrives looking for her lover, Scarpia artfully arouses her jealous instincts by implying a relationship between the painter and the Marchesa Attavanti. He draws Tosca's attention to the fan and suggests that someone must have surprised the lovers in the chapel. Tosca falls for his deceit;

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states, in his study of Puccini's operas, accentuates the class distinction between the two. When Tosca comforts Cavaradossi after the torture scene, she now tells him, "Ma il giusto Iddio lo punirá" ("But a just God will punish him" ); formerly she stated, "Ma il sozzo sbirro lo pagherà" ("But the

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After Tosca's "Non la sospiri" and the subsequent argument inspired by her jealousy, the sensuous character of the love duet "Qual'occhio" provides what opera writer Burton Fisher describes as "an almost erotic lyricism that has been called pornophony". The brief scene in which the sacristan returns

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on 13 October 1903, the 72-year-old Sardou took charge of all the action on the stage. Puccini was delighted with the public's reception of the work in Paris, despite adverse comments from critics. The opera was subsequently premiered at venues throughout Europe, the Americas, Australia and the

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Scarpia, now alone with Tosca, proposes a bargain: if she gives herself to him, Cavaradossi will be freed. She is revolted, and repeatedly rejects his advances, but she hears the drums outside announcing an execution. As Scarpia awaits her decision, she prays, asking why God has abandoned her in her

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Angelotti emerges and tells Cavaradossi, an old friend who has republican sympathies, that he is being pursued by the Chief of Police, Baron Scarpia. Cavaradossi promises to assist him after nightfall. Tosca's voice is heard, calling to Cavaradossi. Cavaradossi gives Angelotti his basket of food and

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in December 1899 attracted the religious to the city, but also brought threats from anarchists and other anticlericals. Police received warnings of an anarchist bombing of the theatre, and instructed Mugnone (who had survived a theatre bombing in Barcelona), that in an emergency he was to strike up

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After Tosca has left, Angelotti reappears and discusses with the painter his plan to flee disguised as a woman, using clothes left in the chapel by his sister. Cavaradossi gives Angelotti a key to his villa, suggesting that he hide in a disused well in the garden. The sound of a cannon signals that

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This is a farewell to love and life, "an anguished lament and grief built around the words 'muoio disperato' (I die in despair)". Puccini insisted on the inclusion of these words, and later stated that admirers of the aria had treble cause to be grateful to him: for composing the music, for having

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Tosca insists that Scarpia must provide safe-conduct out of Rome for herself and Cavaradossi. He easily agrees to this and heads to his desk. While he's drafting the document, she quietly takes a knife from the supper table. Scarpia triumphantly strides toward Tosca. When he begins to embrace her,

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Spoletta returns with the news that Angelotti has killed himself upon discovery, and that everything is in place for Cavaradossi's execution. Scarpia hesitates to give the order, looking to Tosca, and despairingly she agrees to submit to him. He tells Spoletta to arrange a mock execution, both men

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The performance, while not quite the triumph that Puccini had hoped for, was generally successful, with numerous encores. Much of the critical and press reaction was lukewarm, often blaming Illica's libretto. In response, Illica condemned Puccini for treating his librettists "like stagehands" and

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In 1891, Illica advised Puccini against the project, most likely because he felt the play could not be successfully adapted to a musical form. When Sardou expressed his unease at entrusting his most successful work to a relatively new composer whose music he did not like, Puccini took offence. He

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is played in a distant quarter of the Farnese Palace. For this music Puccini adapted a fifteen-year-old student exercise by his late brother, Michele, stating that in this way his brother could live again through him. In the dialogue with Spoletta, the "torture" motif—an "ideogram of suffering",

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contains a large amount of dialogue and exposition. While the broad details of the play are present in the opera's plot, the original work contains many more characters and much detail not present in the opera. In the play the lovers are portrayed as though they were French: the character Floria

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The Sacristan re-enters with choristers, celebrating the news that Napoleon has apparently been defeated at Marengo. The celebrations cease abruptly with the entry of Scarpia, his henchman Spoletta and several police agents. They have heard that Angelotti has sought refuge in the church. Scarpia

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will later be sung by Cavaradossi and Tosca in their final duet. The orchestral prelude which follows portrays the Roman dawn; the pastoral aura is accentuated by the shepherd boy's song, and the sounds of sheep bells and church bells, the authenticity of the latter validated by Puccini's early

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Scarpia orders his torturers to cease, and the bloodied painter is dragged back in. He is devastated to discover that Tosca has betrayed his friend. Sciarrone, another agent, then enters with news: there was an unexpected turn on the battlefield at Marengo, and the French are marching on Rome.

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enraged, she rushes off to confront Cavaradossi. Scarpia orders Spoletta and his agents to follow her, assuming she will lead them to Cavaradossi and Angelotti. He privately gloats as he reveals his intentions to possess Tosca and execute Cavaradossi. A procession enters the church singing the

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Tosca enters and suspiciously asks Cavaradossi what he has been doing – she thinks that he has been talking to another woman. After Cavaradossi reassures her, Tosca tries to persuade him to take her to his villa that evening: "Non la sospiri, la nostra casetta" ("Do you not long for our little

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Puccini saw Sardou's play when it was touring Italy in 1889 and, after some vacillation, obtained the rights to turn the work into an opera in 1895. Turning the wordy French play into a succinct Italian opera took four years, during which the composer repeatedly argued with his librettists and

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Tosca enters and shows him the safe-conduct pass she has obtained, adding that she has killed Scarpia and that the imminent execution is a sham. Cavaradossi must feign death, after which they can flee together before Scarpia's body is discovered. Cavaradossi is awestruck by his gentle lover's

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Scarpia, at supper, sends a note to Tosca asking her to come to his apartment, anticipating that two of his goals will soon be fulfilled at once. His agent, Spoletta, arrives to report that Angelotti remains at large, but Cavaradossi has been arrested for questioning. He is brought in, and an

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calls the "Grand Tune" concept, Puccini retains a limited number of set-pieces, distinguished from their musical surroundings by their memorable melodies. Even in the passages linking these "Grand Tunes", Puccini maintains a strong degree of lyricism and only rarely resorts to recitative.

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courage: "O dolci mani" ("Oh sweet hands"). The pair ecstatically imagine the life they will share, far from Rome. Tosca then anxiously coaches Cavaradossi on how to play dead when the firing squad shoots at him with blanks. He promises he will fall "like Tosca in the theatre".

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The 1909 score contains a number of minor changes from the autograph score. Some are changes of phrase: Cavaradossi's reply to the sacristan when he asks if the painter is doing penance is changed from "Pranzai" ("I have eaten.") to "Fame non ho" ("I am not hungry."), which

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The voices of Spoletta, Sciarrone, and the soldiers are heard, shouting that Scarpia is dead and Tosca has killed him. As the men rush in, Tosca rises, evades their clutches, and runs to the parapet. Crying "O Scarpia, avanti a Dio!" ("O Scarpia, we meet before God!"), she

1220:, who sang Cavaradossi from the late 1970s, appeared in a special performance in Rome, with Plácido Domingo as conductor, on 14 January 2000, to celebrate the opera's centenary. Pavarotti's last stage performance was as Cavaradossi at the Met, on 13 March 2004. 854:; when nothing they provided satisfied him, he supplied the words himself. For the Te Deum music, he investigated the melodies to which the hymn was set in Roman churches, and sought to reproduce the cardinal's procession authentically, even to the uniforms of the 871:

on the day after the premiere, "the great fuss and the large amount of money for the bells have constituted an additional folly, because it passes completely unnoticed". Nevertheless, the bells provide a source of trouble and expense to opera companies performing

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contends that Franchetti gave it up simply because he saw little merit in it and could not feel the music in the play. Whatever the reason, Franchetti surrendered the rights in May 1895, and in August Puccini signed a contract to resume control of the project.

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she stabs him, crying "this is Tosca's kiss!" Once she's certain he's dead, she ruefully says "now I forgive him." She removes the safe-conduct from his pocket, lights candles in a gesture of piety, and places a crucifix on the body before leaving.

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that would be associated with Scarpia, is dated January 1898. At Puccini's request, Giacosa irritably provided new lyrics for the act 1 love duet. In August, Puccini removed several numbers from the opera, according to his biographer,

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morning visits to Rome. Themes reminiscent of Scarpia, Tosca and Cavaradossi emerge in the music, which changes tone as the drama resumes with Cavaradossi's entrance, to an orchestral statement of what becomes the melody of his aria "

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The opera begins without any prelude; the opening chords of the Scarpia motif lead immediately to the agitated appearance of Angelotti and the enunciation of the "fugitive" motif. The sacristan's entry, accompanied by his sprightly

641:. The Sacristan identifies a likeness between the portrait and a blonde-haired woman who has been visiting the church recently (unknown to him, it is Angelotti's sister the Marchesa). Cavaradossi describes the "hidden harmony" (" 1416:, according to Newman, Puccini rises to his greatest height as a master of the musical macabre. The act begins quietly, with Scarpia musing on the forthcoming downfall of Angelotti and Cavaradossi, while in the background a 771:. The guards lead Cavaradossi in and a jailer informs him that he has one hour to live. He declines to see a priest, but asks permission to write a letter to Tosca. He begins to write, but is soon overwhelmed by memories: " 226:

and its characters continues to fascinate both performers and audiences, and the work remains one of the most frequently performed operas. Many recordings of the work have been issued, both of studio and live performances.

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to the bone, leaving three strong characters trapped in an airless, violent, tightly wound melodrama that had little room for lyricism". At the end of the year, Puccini wrote that he was "busting his balls" on the opera.

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monotone (sometimes spoken), the music gradually fades, ending what Newman calls "the most impressively macabre scene in all opera." The final notes in the act are those of the Scarpia motif, softly, in a minor key.

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in languages other than Italian are rare but not unknown; over the years versions in French, German, Spanish, Hungarian and Russian have been issued. An admired English language version was released in 1995 in which

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the lyrics written, and "for declining expert advice to throw the result in the waste-paper basket". The lovers' final duet "Amaro sol per te", which concludes with the act's opening horn music, did not equate with

563:, who was elected in Venice on 14 March 1800, would not enter Rome until 3 July. There is thus neither a Pope nor papal government in Rome during the days depicted in the opera). The new republic was ruled by seven 191:

premiered at a time of unrest in Rome, and its first performance was delayed for a day for fear of disturbances. Despite indifferent reviews from the critics, the opera was an immediate success with the public.

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to which Cavaradossi's brief "Vittoria! Vittoria!" on the news of Napoleon's victory gives only partial relief. Scarpia's aria "Già, mi dicon venal" ("Yes, they say I am venal") is closely followed by Tosca's

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bells there, as they would be heard from its ramparts. Puccini had bells for the Roman dawn cast to order by four different foundries. This apparently did not have its desired effect, as Illica wrote to

862:, and was equally diligent when writing the music that opens act 3, in which Rome awakens to the sounds of church bells. He journeyed to Rome and went to the Castel Sant'Angelo to measure the sound of 718:

Cavaradossi, unable to contain himself, gloats to Scarpia that his rule of terror will soon be at an end. This is enough for the police to consider him guilty, and they haul him away to be executed.

1506:'s idea of a transcendental love duet which would be a fitting climax to the opera. Puccini justified his musical treatment by citing Tosca's preoccupation with teaching Cavaradossi to feign death. 2087:

which for decades has been considered the best of all the recorded performances of the opera. She recorded the role again for EMI in stereo in 1964. A number of Callas's live stage performances of

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based on Tosca's act 1 motif, this is perhaps the opera's best-known aria, yet was regarded by Puccini as a mistake; he considered eliminating it since it held up the action. Fisher calls it "a

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In the execution scene which follows, a theme emerges, the incessant repetition of which reminded Newman of the Transformation Music which separates the two parts of act 1 in Wagner's

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theme, lifts the mood, as does the generally light-hearted colloquy with Cavaradossi which follows after the latter's entrance. This leads to the first of the "Grand Tunes", Cavaradossi's "

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had received in Italy, particularly in Milan, and warned that other composers were interested in the piece. Nonetheless, Ricordi reached terms with Sardou and assigned the librettist

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as Tosca and Cavaradossi. Ten years later, in 1929, Sabajno returned to the opera for the third time, recording it, by the electrical process, with the orchestra and chorus of the

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though he was still not completely happy with the music for "O dolci mani". In any event time was too short before the scheduled January 1900 premiere to make any further changes.

3703: 2215:. Despite some dissatisfaction expressed by Ricordi concerning the final act, the score remained relatively unchanged in the 1909 edition. An unamended edition was published by 270:, which premiered in Paris on 24 November 1887, and in which she starred throughout Europe, was an outstanding success, with more than 3,000 performances in France alone. 578:

In May 1800 Napoleon, by then the undisputed leader of France, brought his troops across the Alps to Italy once again. On 14 June his army met the Austrian forces at the

622:, runs into the church and hides in the Attavanti private chapel – his sister, the Marchesa Attavanti, has left a key to the chapel hidden at the feet of the statue of the 677: 1519:(as loudly as possible). This choice of ending has been strongly criticised by analysts, mainly because of its specific association with Cavaradossi rather than Tosca. 2150:

made his first recording of Cavaradossi for RCA in 1972, and he continued to record other versions at regular intervals until 1994. In 1976, he was joined by his son,

645:") in the contrast between the blonde beauty of his painting and his dark-haired lover, the singer Floria Tosca. The Sacristan mumbles his disapproval before leaving. 1058:

replaced De Marchi as Cavaradossi. The opera was a great success at La Scala, and played to full houses. Puccini travelled to London for the British premiere at the

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In October 1899, Ricordi realized that some of the music for Cavaradossi's act 3 aria, "O dolci mani" was borrowed from music Puccini had cut from his early opera,

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famously called it a "shabby little shocker"—the power of its score and the inventiveness of its orchestration have been widely acknowledged. The dramatic force of

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Giacosa in stating that the rush of action did not permit enough lyricism, to the great detriment of the music. A third called the opera "three hours of noise".

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Osborne describes the scenes that follow—Cavaradossi's interrogation, his torture, Scarpia's sadistic tormenting of Tosca—as Puccini's musical equivalent of

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In 1992 a television version of the opera was filmed at the locations prescribed by Puccini, at the times of day at which each act takes place. Featuring

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wrote more than 70 plays, almost all of them successful, and none of them performed today. In the early 1880s Sardou began a collaboration with actress

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on 27 August 1942. Tosca was also her last on-stage operatic role, in a special charity performance at the Royal Opera House on 7 May 1965.

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The execution of Cavaradossi at the end of act 3. Soldiers fire, as Tosca looks away. Photograph of a pre-1914 production by the Metropolitan Opera

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to identify characters, objects and ideas. While critics have often dismissed the opera as a facile melodrama with confusions of plot—musicologist

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The Milan premiere at La Scala took place under Toscanini on 17 March 1900. Darclée and Giraldoni reprised their roles; the prominent tenor

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interrogation ensues. As the painter steadfastly denies knowing anything about Angelotti's escape, Tosca's voice is heard singing a celebratory

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remarked that anything Kerman says about Puccini "can safely be ignored". Writing half a century after the premiere, the veteran critic

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quickly!"), only to find that Scarpia betrayed her: the bullets were real. Heartbroken, she clasps her lover's lifeless body and weeps.

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remarks on Puccini's "inept handling of the political element", but still hails the work as "a triumph of pure theatre". Music critic

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with a largely unknown cast, featuring the Italian soprano Lya Remondini in the title role. The next year, in 1919, Sabajno recorded

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Tosca reverently lays a crucifix on Scarpia's body. Photograph of a pre-1914 production at the old Metropolitan Opera House, New York

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called Puccini "a master in the art of poignant expression", and praised the "wonderful skill and sustained power" of the music. In

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the opera I need, with no overblown proportions, no elaborate spectacle, nor will it call for the usual excessive amount of music."

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Tosca is closely modelled on Bernhardt's personality, while her lover Cavaradossi, of Roman descent, is born in Paris. Illica and

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that celebrates the supposed defeat of Napoleon, Puccini was tempted to follow the text of Sardou's play and use the music of

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Early Cavaradossis played the part as if the painter believed that he was reprieved, and would survive the "mock" execution.

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through the door eventually breaks her down, and she tells Scarpia to search the well in the garden of Cavaradossi's villa.

586:). Austrian troops were initially successful; by mid-morning they were in control of the field of battle. Their commander, 292:, to negotiate with Sardou, who preferred that his play be adapted by a French composer. He complained about the reception 1015:

was present, with several members of his cabinet. A number of Puccini's operatic rivals were there, including Franchetti,

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was taken prisoner, and was sent into exile on February 20, 1798. (Pius VI would die in exile in 1799, and his successor,

1257:, Puccini's score was admired for its sincerity and "strength of utterance." After the 1903 Paris opening, the composer 1118:

as the supreme interpreter of the role, largely on the basis of her performances at the Royal Opera House in 1964, with

5059: 4999: 4851: 4275: 4230: 3903: 3800: 3490: 2095:, in 1950 and 1952, and the last was in London in 1965. The first stereo recording of the opera was made in 1957 by 5009: 2977: 1515:. In the final bars, as Tosca evades Spoletta and leaps to her death, the theme of "E lucevan le stelle" is played 1145:, in 1996 at La Scala, used distorted and fractured scenery to represent the twists of fate reflected in the plot. 991:

At the time of the premiere, Italy had experienced political and social unrest for several years. The start of the

895:. The composer asked a friend to have a "good romanesco poet" write some words; eventually the poet and folklorist 567:; in the opera this is the office formerly held by Angelotti, whose character may be based on the real-life consul 3017: 1477:

The third act's tranquil beginning provides a brief respite from the drama. An introductory 16-bar theme for the

183:. It contains depictions of torture, murder, and suicide, as well as some of Puccini's best-known lyrical arias. 3666: 3633: 3571: 3536: 2913: 1343:", with a continuous stream of music which in some cases eliminated all identifiable set-pieces. In what critic 610:

The Te Deum scene which concludes act 1; Scarpia stands at left. Photograph of a pre-1914 production at the old

571:. In September 1799 the French, who had protected the republic, withdrew from Rome. As they left, troops of the 5044: 5024: 4128: 2844: 1702: 1286: 3021: 1451:. After Tosca's contemptuous "E avanti a lui tremava tutta Roma!" ("All Rome trembled before him"), sung on a 5049: 4347: 1603: 948:. Because of the Roman setting, Ricordi arranged a Roman premiere for the opera, even though this meant that 552: 2191:

and a largely British cast. Since the late 1990s numerous video recordings of the opera have been issued on

5039: 5019: 4448: 1523:

mocked the final music, "Tosca leaps, and the orchestra screams the first thing that comes into its head."

154: 117: 4108: 4500: 4327: 4314: 5069: 5054: 4967: 2947: 1448: 1155:, transferred the action to Nazi-occupied Rome in 1944, with Scarpia as head of the fascist police. In 1151: 1003:

By 1900, the premiere of a Puccini opera was a national event. Many Roman dignitaries attended, as did

600: 4298: 200: 1298:, it ranks as fifth in the world with 540 performances given in the five seasons 2009–10 to 2013–14. 508: 518: 4807: 4340: 2080: 981: 980:

had hoped to create the role of Cavaradossi, but was passed over in favour of the more experienced

383: 4717: 4709: 4701: 4685: 4418: 1996:'s house conductor since 1904; he had made early complete recordings of several operas, including 850:

Puccini asked clerical friends for words for the congregation to mutter at the start of the act 1

551:

invaded Italy in 1796, entering Rome almost unopposed on 11 February 1798 and establishing a

5004: 4613: 4403: 4171: 2184: 1008: 859: 839: 3509: 1239:

has not been matched by consistent critical enthusiasm. After the premiere, Ippolito Valetta of

4844: 2188: 2155: 1078:

was " complete triumph", and Ricordi's London representative quickly signed a contract to take

823:

Little work was done on the score during 1897, which Puccini devoted mostly to performances of

281:, begging him to get Sardou's permission for the work to be made into an opera: "I see in this 20: 2262: 2199:

disc (BD). These include recent productions and remastered versions of historic performances.

2151: 4550: 4456: 3735: 3576: 3541: 2053: 2021: 1539: 1452: 1444: 1381: 1161: 1035:

soon vanished; the premiere was followed by twenty performances, all given to packed houses.

936:

as Cavaradossi. Passed over for the role at the premiere, he sang it many times subsequently.

744: 623: 4641: 4536: 669:; exclaiming 'Tosca, you make me forget even God!', Scarpia joins the chorus in the prayer. 535:

Italy had long been divided into a number of small states, with the Pope in Rome ruling the

5014: 4898: 4890: 4882: 4517: 1985: 1131: 4606: 3726: 1404: 1031:

reducing the text to a shadow of its original form. Nevertheless, any public doubts about

8: 4951: 4578: 4557: 3955: 3629: 2132: 2120: 2025: 1935: 1483: 1205: 1024: 1004: 772: 4309: 961: 564: 365: 4585: 4543: 3792: 3785: 2990: 2411: 2124: 1993: 1698: 1494: 1183: 1087: 1083: 884: 619: 606: 305: 4829: 3867: 2147: 1209: 532:

takes place in the afternoon, evening, and early morning of 17 and 18 June 1800.

4937: 4931: 4906: 4837: 4756: 4725: 4693: 4667: 4634: 4627: 4620: 4564: 4433: 4319: 4267: 4254: 4226: 4218: 4204: 4198: 4183: 4157: 4136: 4114: 4081: 4075: 4056: 4032: 4026: 4013: 3999: 3980: 3959: 3921: 3899: 3874: 3796: 3486: 3109: 2163: 1975: 1817: 1377: 1344: 1253: 1217: 1197: 1130:. Callas had first sung Tosca at age 18 in a performance given in Greek, in the 1123: 1067: 1059: 1055: 985: 965: 892: 764: 688: 657:

Angelotti's escape has been discovered. He and Cavaradossi hasten out of the church.

642: 587: 579: 572: 568: 544: 414: 401: 308:. Illica wrote a libretto for Franchetti, who was never at ease with the assignment. 266:, whom he provided with a series of historical melodramas. His third Bernhardt play, 172: 2112: 4866: 4773: 4750: 4592: 4441: 3862: 2224: 2175: 2167: 2104: 2076: 2037: 1559: 1340: 1213: 1167: 1127: 957: 949: 901: 805: 347: 259: 245: 158: 150: 96: 68: 1265:

was offended by "disconcerting vulgarities". In the 1950s, the young musicologist

1262: 1091: 277:

at least twice, in Milan and Turin. On 7 May 1889 he wrote to his publisher,

211:, choruses and other elements musically woven into a seamless whole. Puccini used 5029: 4944: 4659: 4571: 4494: 4363: 4248: 4151: 3758: 3026: 2159: 2136: 2100: 2045: 1906: 1440: 1436: 1393: 1311: 1224: 1146: 1020: 1016: 1000:. The unrest caused the premiere to be postponed by one day, to 14 January. 969: 945: 788: 723: 698: 263: 138: 38: 513: 4778: 4744: 3913: 2171: 2128: 2116: 2049: 1997: 1781: 1777: 1754: 1694: 1631: 1583: 1503: 1385: 1356: 1274: 1193: 1179: 1071: 1047: 973: 868: 730:

repeating that it will be "as we did with Count Palmieri", and Spoletta exits.

638: 316: 289: 278: 212: 1170:

in 2007 the act 1 set, designed by Johannes Leiacker, was dominated by a huge

929: 4993: 4788: 4487: 4395: 4095: 4046: 3891: 3225: 2108: 1989: 1670: 1623: 1587: 1571: 1563: 1524: 1520: 1430: 1327:

By the end of the 19th century the classic form of opera structure, in which

1282: 1278: 1266: 1111: 1107: 1063: 1012: 984:. The performance was to be directed by Nino Vignuzzi, with stage designs by 977: 933: 911: 834: 560: 540: 419: 219: 4176: 2056:, for a "practically complete" recording that extended over 14 double-sided 1106:, who sang the role regularly in a long-standing partnership with the tenor 490:

Soldiers, police agents, altar boys, noblemen and women, townsfolk, artisans

4981: 4783: 4599: 4284: 3935: 3819: 2212: 2096: 2072: 2033: 1726: 1611: 1142: 1115: 1103: 997: 952:

could not conduct it as Puccini had planned—Toscanini was fully engaged at

906:

wrote the verse which, after slight modification, was placed in the opera.

855: 556: 536: 528:

occurs in Rome in June 1800. Sardou, in his play, dates it more precisely;

297: 146: 63: 4411: 1043: 825: 4472: 4271: 4071: 2216: 2092: 2002: 1615: 1575: 1551: 1478: 1373: 1096: 637:

The painter Mario Cavaradossi arrives to continue work on his picture of

618:

Cesare Angelotti, former consul of the Roman Republic and now an escaped

583: 479: 304:

withdrew from the agreement, which Ricordi then assigned to the composer

1306: 1247:

The critics gave the work a generally kinder reception in London, where

1189: 1178:

scenes beyond the action. This production updates the story to a modern

4480: 4464: 1792: 1750: 1425:, in the literature referred to as a lost work of Puccini's from 1897. 1336: 1258: 1175: 1119: 960:

was appointed to conduct. The accomplished (but temperamental) soprano

811: 339: 208: 3177: 2902: 2064: 2008: 1607: 1360: 1339:

or dialogue, had been largely abandoned, even in Italy. Operas were "

1295: 1171: 1090:

the only change from the London cast. For its French premiere at the

992: 627: 215: 168: 2840: 1335:

and other set-piece vocal numbers are interspersed with passages of

4861: 4510: 4387: 2029: 1555: 1511: 953: 888: 548: 396: 236: 176: 163: 142: 90: 4332: 767:) "Io de' sospiri" ("I give you sighs") as church bells sound for 630:

enters and begins cleaning. The Sacristan kneels in prayer as the

2196: 2057: 1619: 1591: 1579: 1567: 1543: 1417: 880: 851: 707: 666: 631: 360: 4067:(Note: this book was first published by Alfred A. Knopf in 1956) 2154:, who sang the shepherd boy's song in a filmed version with the 3572:"Complete Recordings of Two Puccini Operas: Tosca and Turandot" 1599: 1595: 1497:) singing "E lucevan le stelle" in a painting by Riccardo Manci 1135: 863: 858:. He adapted the music to the exact pitch of the great bell of 768: 46: 4814: 4025:

Greenfield, Edward; March, Ivan; Layton, Robert, eds. (1993).

3739:. Vol. 100, no. 1216 (August 2022). pp. 100–105 3510:"There are 250 recordings of Tosca by Giacomo Puccini on file" 241: 3485:. Dover Music Scores (reprint ed.). Dover Publications. 378: 134: 34: 4976: 4055:. Berkeley and Los Angeles: University of California Press. 3414:

before rehearsal 65. See Appendix 2g (Ricordi 1995, p. LXIV)

1086:

was on 4 February 1901, with De Lucia's replacement by

4320:

Susan Vandiver Nicassio: "Ten Things You Didn't Know about

4113:(paperback ed.). Oxford: University of Chicago Press. 2970: 2091:

were also preserved. The earliest were two performances in

1627: 1547: 1332: 1328: 204: 4110:

Tosca's Rome: The Play and the Opera in Historical Context

1705:. (From "Tre sbirri, una carrozza" to the end of the act.) 3916:; Nicassio, Susan Vandiver; Züno, Agostino, eds. (2004). 3408:

In the first edition the line was recited later, on the D

3089: 3087: 2826: 2824: 2192: 2084: 2041: 2020:

again, this time with more well-known singers, including

1273:

as a "shabby little shocker."; in response the conductor

3918:

Tosca's Prism: Three Moments of Western Cultural History

1216:, the performance was broadcast live throughout Europe. 1099:

it had been performed in more than 50 cities worldwide.

4859: 3898:(paperback ed.). Oxford: Oxford University Press. 2289: 1174:"Big Brother" eye. The iris opens and closes to reveal 3084: 2821: 4965: 1007:, though she arrived late, after the first act. The 919: 4288:(London), 23 July 2012. Retrieved 22 November 2018. 4276:"How we made: Franco Zeffirelli and John Tooley on 2063:In the post-war period, following the invention of 4175: 3866: 3784: 2903:"Maria Callas: Performance Annals and Discography" 1261:thought the work lacked cohesion and style, while 2158:. More recent commended recordings have included 2146:recordings of both studio and live performances. 1697:, as Scarpia, performs the act 1 finale with the 649:Angelotti hurriedly returns to his hiding place. 4991: 2247: 2245: 1637: 3480: 1960:("Only for you did death taste bitter for me") 157:in Rome on 14 January 1900. The work, based on 51:Original poster, depicting the death of Scarpia 4250:The Metropolitan Opera Guide to Recorded Opera 3873:. Ithaca, New York: Cornell University Press. 3606: 3604: 3602: 1318:at the Opera Festival of St. Margarethen, 2015 4845: 4348: 4223:The Indispensable Composers: A Personal Guide 2242: 763:A shepherd boy is heard offstage singing (in 755:The Castel Sant'Angelo (right), scene of the 311:When Puccini once again became interested in 3673:. London: Haymarket. June 1996. p. 82. 3628: 3334: 3332: 3220: 3218: 2976: 2572: 2570: 2568: 2566: 2564: 2562: 1182:scenario, with special effects "worthy of a 4028:The Penguin Guide to Opera on Compact Discs 3599: 3504: 3502: 3259: 3257: 3255: 3253: 3196: 3194: 2896: 2894: 2623: 2621: 2619: 2617: 2406: 2404: 2142:The 1970s and 1980s saw a proliferation of 2044:secured the services of the renowned tenor 2040:in the roles of Tosca and Scarpia. In 1938 1384:, accompanied by the sacristan's grumbling 1359:of Puccini's scores, in its use of musical 976:roles, became the first Scarpia. The young 4852: 4838: 4355: 4341: 2775: 2773: 2751: 2749: 2747: 2745: 2743: 2607: 2605: 2603: 2202: 1408:Emmy Destinn in the role of Tosca, c. 1910 1050:, an early exponent of the role of Scarpia 759:denouement, as painted in the 18th century 45: 5035:Operas based on works by Victorien Sardou 4305:International Music Score Library Project 4217: 4182:. Boston: Northeastern University Press. 3920:. Boston: Northeastern University Press. 3724: 3467: 3465: 3329: 3215: 3151: 3149: 3147: 2796: 2794: 2708: 2706: 2669: 2667: 2559: 2552: 2550: 2295: 1832:("Do you not long for our little house") 1038: 815:Front cover of the original 1899 libretto 794: 524:According to the libretto, the action of 171:piece set in Rome in June 1800, with the 4200:The Classic Good CD & DVD Guide 2006 3534: 3499: 3368: 3366: 3364: 3362: 3250: 3208: 3206: 3191: 3053: 3051: 3049: 2948:"Tosca, Bregenzer Festspiele – Seebühne" 2900: 2891: 2763: 2761: 2657: 2655: 2653: 2651: 2614: 2401: 2394: 2392: 2364: 2362: 2360: 2358: 1488: 1468: 1403: 1305: 1188: 1042: 928: 879:In act 2, when Tosca sings offstage the 810: 750: 687: 676: 605: 512: 240: 4080:(English ed.). Cologne: Könemann. 3822:(Ricordi 1995), critical notes on p. XL 3066: 2866: 2864: 2862: 2770: 2740: 2600: 2584: 2582: 1701:chorus, in this 1914 recording for the 1062:, Covent Garden, on 12 July, with 300:to write a scenario for an adaptation. 161:'s 1887 French-language dramatic play, 4992: 3727:"The Gramophone Collection: Puccini's 3462: 3144: 3016: 2812: 2791: 2703: 2664: 2547: 1984:recording was made in 1918, using the 1911:("I lived for art, I lived for love") 684:, set design for Tosca act 3 (undated) 250:cartoon depicting the end of Sardou's 4833: 4336: 3979:. Chicago: Chicago University Press. 3613: 3580:. London. December 1938. p. 23. 3516:from the original on 28 November 2010 3359: 3203: 3158: 3075: 3067:Valetta (1900). "Rassegna Musicale". 3046: 3034:from the original on 24 December 2010 2803: 2758: 2648: 2389: 2355: 2277:from the original on 15 February 2015 1493:Mario Cavaradossi (modelled on tenor 1230: 1102:Among the prominent early Toscas was 517:The Battle of Marengo, as painted by 502: 3677:from the original on 5 November 2012 3644:from the original on 5 November 2012 3584:from the original on 5 November 2012 3549:from the original on 5 November 2012 2859: 2579: 1877:("For myself the violent conquest") 1166:production on the Lake Stage at the 1149:, in a 1986 production for the 49th 829:. The opening page of the autograph 682:La piattaforma di Castel Sant'Angelo 4362: 4156:. Cleckheaton (UK): Amadeus Press. 4153:The Unknown Callas: The Greek Years 4077:Opera: Composers, Works, Performers 2998:from the original on 25 August 2014 2733:. L'Almanacco di Gherardo Casaglia 2511: 1830:"Non la sospiri, la nostra casetta" 1141:Among non-traditional productions, 410:former Consul of the Roman Republic 13: 4240: 3765:from the original on 10 March 2015 3667:"Puccini: Tosca (Sung in English)" 3224: 3103:"The Royal Opera: Puccini's opera 2484: 2123:'s acclaimed performance with the 2079:and the La Scala forces, she made 1958:"Amaro sol per te m'era il morire" 1897:("Yes, they say that I am venal") 1791:Problems playing these files? See 1644: 1530: 14: 5081: 4292: 4107:Nicassio, Susan Vandiver (2002). 3640:. London: Haymarket. p. 71. 3113:. London: 536–537. 1 August 1900. 2919:from the original on 26 June 2011 2418:from the original on 13 July 2010 2260: 1082:to New York. The premiere at the 964:was selected for the title role; 920:Reception and performance history 887:, before finally writing his own 330:Roles, voice types, premiere cast 288:Ricordi sent his agent in Paris, 175:'s control of Rome threatened by 4975: 4813: 4803: 4802: 3949:Opera Classics Library Presents 3843: 3834: 3825: 3809: 3777: 3751: 3718: 3692: 3659: 3622: 3564: 2958:from the original on 8 June 2011 2847:from the original on 15 May 2011 1767: 1740: 1716: 1684: 1660: 1322: 1122:as Scarpia. This production, by 3947:Fisher, Burton D., ed. (2005). 3725:Pullinger, Mark (August 2022). 3706:from the original on 9 May 2012 3528: 3474: 3453: 3444: 3435: 3426: 3417: 3402: 3393: 3384: 3375: 3350: 3341: 3320: 3311: 3302: 3293: 3284: 3275: 3266: 3182: 3167: 3135: 3126: 3117: 3096: 3060: 3010: 2940: 2931: 2882: 2873: 2833: 2782: 2715: 2694: 2685: 2676: 2639: 2630: 2591: 2538: 2529: 2520: 2502: 2493: 2475: 2466: 2457: 2448: 2439: 2430: 2380: 2371: 1542:(the second and third doubling 1074:as Scarpia. Puccini wrote that 4150:Petsalēs-Diomēdēs, N. (2001). 4133:The Complete Operas of Puccini 3976:Puccini: His International Art 3619:Greenfield et al., pp. 314–318 3022:"Luciano Pavarotti (Obituary)" 2888:Petsalēs-Diomēdēs, pp. 291–293 2346: 2337: 2328: 2319: 2310: 2301: 2254: 2211:was published in late 1899 by 1703:Victor Talking Machine Company 344:Premiere cast, 14 January 1900 1: 5065:Roman Republic (18th century) 3958:: Opera Journeys Publishing. 3940:Puccini: A Critical Biography 3700:"DVD videos, Puccini's Tosca" 3535:Gaisberg, F. W. (June 1944). 2986:performed on actual location" 2231: 2071:recordings were dominated by 1969: 1638:List of arias and set numbers 1095:Far East; by the outbreak of 889:imitation of Paisello's style 747:, early the following morning 230: 16:1900 opera by Giacomo Puccini 4197:Roberts, David, ed. (2005). 2412:"Tosca: Performance history" 2048:, together with the soprano 1590:; a percussion section with 791:over the edge to her death. 7: 4328:University of Chicago Press 4315:Full piano score with notes 4274:(interviews by Anna Tims), 4135:. London: Victor Gollancz. 4018:Puccini: Keeper of the Seal 3896:Puccini: His Life and Works 3761:. University of Rochester. 1842:("What eyes in the world") 1235:The enduring popularity of 924: 775:" ("And the stars shone"). 697:Scarpia's apartment in the 497: 10: 5086: 4253:. New York: W. W. Norton. 4247:Gruber, Paul, ed. (2003). 3994:Greenfeld, Howard (1980). 3338:Burton et al., pp. 130–131 2841:"Emmy Destinn (1878–1930)" 2721:Casaglia, Gherardo (2005). 2352:Phillips-Matz, pp. 107–108 2343:Phillips-Matz, pp. 106–107 2156:New Philharmonia Orchestra 2107:orchestra and chorus with 2075:. In 1953, with conductor 1973: 1862:("We praise thee, O God") 1464: 1449:Beethoven's Ninth Symphony 1399: 1380:" with its sustained high 1366: 1152:Maggio Musicale Fiorentino 506: 234: 18: 5060:Operas adapted into films 5000:Operas by Giacomo Puccini 4917: 4874: 4797: 4766: 4747:(great-great-grandfather) 4737: 4678: 4651: 4528: 4379: 4370: 4031:. London: Penguin Books. 3973:Girardi, Michele (2000). 3818:, revised vocal score by 3634:"Puccini: Tosca complete" 2843:. The Kapralova Society. 1918: 1869: 1810: 1070:as the doomed lovers and 710:elsewhere in the Palace. 509:French Revolutionary Wars 488: 107:14 January 1900 102: 85: 77: 56: 44: 33: 28: 4225:. Penguin. p. 370. 4172:Phillips-Matz, Mary Jane 3537:"The Recording of Tosca" 3481:Giacomo Puccini (1992). 3132:Newman, pp. 188, 230–231 2901:Hamilton, Frank (2009). 2207:The orchestral score of 1940:("And the stars shone") 1929:Voice of a shepherd boy 1301: 944:was in rehearsal at the 737: 672: 612:Metropolitan Opera House 593: 323: 5010:Italian-language operas 4614:Tu che di gel sei cinta 3998:. London: Robert Hale. 3688:(subscription required) 3655:(subscription required) 3595:(subscription required) 3560:(subscription required) 3246:(subscription required) 3188:Greenfield, pp. 148–150 2414:. Stanford University. 2267:, Longborough Festival" 2203:Editions and amendments 2052:as Tosca and conductor 1009:Prime Minister of Italy 840:Mary Jane Phillips-Matz 799:Sardou's five-act play 743:The upper parts of the 601:Sant'Andrea della Valle 4020:. London: Arrow Books. 3545:. London. p. 15. 3093:Greenfeld, pp. 125–126 2830:Greenfeld, pp. 138–139 2788:Greenfeld, pp. 122–123 2189:Philharmonia Orchestra 2139:in the leading roles. 1887:("Victory! Victory!") 1649: 1498: 1474: 1409: 1319: 1201: 1051: 1039:Subsequent productions 937: 833:score, containing the 816: 795:Adaptation and writing 760: 693: 685: 615: 547:, a French army under 521: 519:Louis-François Lejeune 258:The French playwright 255: 153:. It premiered at the 21:Tosca (disambiguation) 5045:Fiction about suicide 5025:Operas based on plays 4457:La fanciulla del West 4203:. London: Haymarket. 3869:The Operas of Puccini 3471:Nicassio, pp. 253–254 3272:Burton et al., p. 201 3081:Phillips-Matz, p. 119 3057:Nicassio, pp. 241–242 2879:Phillips-Matz, p. 121 2809:Phillips-Matz, p. 120 2755:Phillips-Matz, p. 118 2700:Phillips-Matz, p. 116 2636:Burton et al., p. 278 2611:Phillips-Matz, p. 115 2544:Nicassio, pp. 272–274 2535:Phillips-Matz, p. 112 2517:Nicassio, pp. 204–205 2499:Nicassio, pp. 169–170 2368:Phillips-Matz, p. 109 2054:Oliviero De Fabritiis 2022:Valentina Bartolomasi 1974:Further information: 1926:("I give you sighs") 1895:"Già, mi dicon venal" 1885:"Vittoria! Vittoria!" 1875:"Ha più forte sapore" 1736:"E lucevan le stelle" 1648: 1492: 1472: 1412:In the second act of 1407: 1309: 1192: 1046: 932: 897:Luigi "Giggi" Zanazzo 814: 754: 691: 680: 609: 599:Inside the church of 516: 244: 5050:Fiction about murder 4373:List of compositions 4178:Puccini: A Biography 3954:(revised ed.). 3702:. Presto Classical. 3630:Hope-Wallace, Philip 3610:Roberts, pp. 761–762 3372:Osborne, pp. 140–143 3212:Osborne, pp. 137–138 3174:"Statistics 2013/14" 3020:(7 September 2007). 2937:Girardi, pp. 192–193 2454:Burton et al., p. 86 2398:Phillips-Matz, p. 18 2065:long-playing records 1950:("Oh, sweet hands") 1763:"Gia mi dicon venal" 1538:is scored for three 1157:Philipp Himmelmann's 1132:Greek National Opera 972:had originated many 860:St. Peter's Basilica 19:For other uses, see 5040:Fiction set in 1800 5020:Operas set in Italy 4952:E lucevan le stelle 4558:E lucevan le stelle 3956:Boca Raton, Florida 3942:. Gerald Duckworth. 3831:Ashbrook, pp. 92–93 3787:Tosca in Full Score 3483:Tosca in Full Score 3356:Newman, pp. 233–234 3234:Oxford Music Online 2952:The Financial Times 2682:Budden, pp. 194–195 2490:Nicassio, pp. 48–49 2463:Nicassio, pp. 32–34 2377:Budden, pp. 182–183 2316:Nicassio, pp. 12–13 2152:Plácido Domingo Jr. 2133:Giuseppe Di Stefano 2121:Herbert von Karajan 2115:as Cavaradossi and 2026:Attilio Salvaneschi 1980:The first complete 1963:Cavaradossi, Tosca 1936:E lucevan le stelle 1845:Cavaradossi, Tosca 1835:Tosca, Cavaradossi 1822:("Hidden harmony") 1656:"Recondita armonia" 1484:E lucevan le stelle 1206:Catherine Malfitano 1025:Ildebrando Pizzetti 773:E lucevan le stelle 575:occupied the city. 471:Aristide Parassani 372:Mario Cavaradossi, 356:a celebrated singer 332: 199:is structured as a 4642:Un bel dì, vedremo 4586:O mio babbino caro 4544:Donna non vidi mai 4537:Torna ai felici dì 4219:Tommasini, Anthony 4014:Greenfield, Edward 3793:Dover Publications 3381:Greenfield, p. 136 2991:The New York Times 2980:(1 January 1993). 2127:was in 1963, with 2125:Vienna State Opera 2012:, before tackling 1994:Gramophone Company 1699:Metropolitan Opera 1650: 1578:in F and E; three 1499: 1495:Giancarlo Monsalve 1475: 1410: 1320: 1231:Critical reception 1202: 1088:Giuseppe Cremonini 1084:Metropolitan Opera 1052: 940:By December 1899, 938: 885:Giovanni Paisiello 817: 761: 745:Castel Sant'Angelo 694: 686: 620:political prisoner 616: 522: 503:Historical context 408:Cesare Angelotti, 328: 306:Alberto Franchetti 256: 5070:Works set in Rome 5055:Fictional singers 4963: 4962: 4938:Recondita armonia 4932:Tosca discography 4827: 4826: 4757:Simonetta Puccini 4635:Che gelida manina 4628:O soave fanciulla 4621:Signore, ascolta! 4607:Non piangere, Liù 4565:Recondita armonia 4268:Franco Zeffirelli 4260:978-0-393-03444-8 4210:978-0-86024-972-6 4189:978-1-55553-530-8 4163:978-1-57467-059-2 4142:978-0-575-04868-3 4120:978-0-19-517974-3 4102:. London: Putnam. 4100:More Opera Nights 4087:978-3-8290-3571-2 4062:978-0-520-24692-8 4038:978-0-14-046957-8 4005:978-0-7091-9368-5 3986:978-0-226-29757-6 3965:978-1-930841-41-3 3927:978-1-55553-616-9 3885:tosca cast bells. 3880:978-0-8014-9309-6 3863:Ashbrook, William 3632:(February 1960). 3263:Fisher, pp. 33–35 3200:Fisher, pp. 27–28 3110:The Musical Times 3018:Forbes, Elizabeth 2978:O'Connor, John J. 2910:frankhamilton.org 2870:Neef, pp. 462–467 2164:Royal Opera House 2030:Teatro alla Scala 1988:. The conductor, 1976:Tosca discography 1967: 1966: 1818:Recondita armonia 1772: 1745: 1721: 1689: 1665: 1378:Recondita armonia 1351:Budden describes 1345:Edward Greenfield 1314:'s production of 1254:The Musical Times 1218:Luciano Pavarotti 1198:Royal Opera House 1124:Franco Zeffirelli 1068:Fernando De Lucia 1060:Royal Opera House 1056:Giuseppe Borgatti 986:Adolfo Hohenstein 966:Eugenio Giraldoni 765:Romanesco dialect 643:Recondita armonia 588:Michael von Melas 580:Battle of Marengo 573:Kingdom of Naples 569:Liborio Angelucci 545:French Revolution 495: 494: 402:Eugenio Giraldoni 273:Puccini had seen 181:invasion of Italy 173:Kingdom of Naples 137:in three acts by 126: 125: 5077: 4980: 4979: 4971: 4867:Victorien Sardou 4854: 4847: 4840: 4831: 4830: 4817: 4806: 4805: 4774:Festival Puccini 4767:Related articles 4751:Domenico Puccini 4679:Film adaptations 4593:In questa reggia 4579:Ch'ella mi creda 4442:Madama Butterfly 4357: 4350: 4343: 4334: 4333: 4303:: Scores at the 4264: 4236: 4214: 4193: 4181: 4167: 4146: 4129:Osborne, Charles 4124: 4103: 4091: 4066: 4042: 4021: 4009: 3990: 3969: 3943: 3931: 3909: 3887: 3872: 3850: 3847: 3841: 3840:Nicassio, p. 245 3838: 3832: 3829: 3823: 3813: 3807: 3806: 3790: 3781: 3775: 3774: 3772: 3770: 3755: 3749: 3748: 3746: 3744: 3722: 3716: 3715: 3713: 3711: 3696: 3690: 3689: 3686: 3684: 3682: 3663: 3657: 3656: 3653: 3651: 3649: 3626: 3620: 3617: 3611: 3608: 3597: 3596: 3593: 3591: 3589: 3568: 3562: 3561: 3558: 3556: 3554: 3532: 3526: 3525: 3523: 3521: 3506: 3497: 3496: 3478: 3472: 3469: 3460: 3457: 3451: 3448: 3442: 3439: 3433: 3430: 3424: 3421: 3415: 3413: 3412: 3406: 3400: 3397: 3391: 3388: 3382: 3379: 3373: 3370: 3357: 3354: 3348: 3345: 3339: 3336: 3327: 3324: 3318: 3315: 3309: 3306: 3300: 3297: 3291: 3288: 3282: 3279: 3273: 3270: 3264: 3261: 3248: 3247: 3244: 3242: 3240: 3222: 3213: 3210: 3201: 3198: 3189: 3186: 3180: 3171: 3165: 3162: 3156: 3153: 3142: 3139: 3133: 3130: 3124: 3121: 3115: 3114: 3100: 3094: 3091: 3082: 3079: 3073: 3072: 3064: 3058: 3055: 3044: 3043: 3041: 3039: 3014: 3008: 3007: 3005: 3003: 2974: 2968: 2967: 2965: 2963: 2954:. 30 July 2007. 2944: 2938: 2935: 2929: 2928: 2926: 2924: 2918: 2907: 2898: 2889: 2886: 2880: 2877: 2871: 2868: 2857: 2856: 2854: 2852: 2837: 2831: 2828: 2819: 2816: 2810: 2807: 2801: 2798: 2789: 2786: 2780: 2777: 2768: 2765: 2756: 2753: 2738: 2736: 2731:14 January 1900" 2730: 2719: 2713: 2710: 2701: 2698: 2692: 2689: 2683: 2680: 2674: 2671: 2662: 2659: 2646: 2645:Nicassio, p. 306 2643: 2637: 2634: 2628: 2625: 2612: 2609: 2598: 2595: 2589: 2586: 2577: 2574: 2557: 2556:Nicassio, p. 227 2554: 2545: 2542: 2536: 2533: 2527: 2524: 2518: 2515: 2509: 2506: 2500: 2497: 2491: 2488: 2482: 2479: 2473: 2470: 2464: 2461: 2455: 2452: 2446: 2443: 2437: 2434: 2428: 2427: 2425: 2423: 2408: 2399: 2396: 2387: 2384: 2378: 2375: 2369: 2366: 2353: 2350: 2344: 2341: 2335: 2332: 2326: 2323: 2317: 2314: 2308: 2305: 2299: 2293: 2287: 2286: 2284: 2282: 2261:Walsh, Stephen. 2258: 2252: 2249: 2225:William Ashbrook 2178:. Recordings of 2176:Ruggero Raimondi 2168:Angela Gheorghiu 2105:Rome Opera House 2077:Victor de Sabata 2038:Apollo Granforte 1986:acoustic process 1924:"Io de' sospiri" 1865:Scarpia, Chorus 1860:Te Deum laudamus 1855:Scarpia, Chorus 1800: 1799: 1774: 1773: 1747: 1746: 1723: 1722: 1691: 1690: 1667: 1666: 1647: 1458: 1457: 1341:through-composed 1310:The setting for 1214:Ruggero Raimondi 1196:as Cavaradossi, 1168:Bregenz Festival 1165: 1128:Angela Gheorghiu 1005:Queen Margherita 982:Emilio De Marchi 962:Hariclea Darclée 958:Leopoldo Mugnone 950:Arturo Toscanini 905: 806:Giuseppe Giacosa 543:. Following the 460:Giuseppe Gironi 446:Enrico Giordano 384:Emilio De Marchi 366:Hariclea Darclée 348:Leopoldo Mugnone 333: 331: 327: 260:Victorien Sardou 201:through-composed 159:Victorien Sardou 151:Giuseppe Giacosa 114: 112: 97:Victorien Sardou 69:Giuseppe Giacosa 49: 26: 25: 5085: 5084: 5080: 5079: 5078: 5076: 5075: 5074: 4990: 4989: 4986: 4974: 4966: 4964: 4959: 4913: 4870: 4858: 4828: 4823: 4793: 4762: 4759:(granddaughter) 4733: 4674: 4660:Messa di Gloria 4647: 4551:Quando me'n vo' 4524: 4495:Gianni Schicchi 4375: 4366: 4364:Giacomo Puccini 4361: 4295: 4261: 4246: 4243: 4241:Further reading 4233: 4211: 4196: 4190: 4170: 4164: 4149: 4143: 4127: 4121: 4106: 4094: 4088: 4070: 4063: 4045: 4039: 4024: 4012: 4006: 3993: 3987: 3972: 3966: 3946: 3934: 3928: 3914:Burton, Deborah 3912: 3906: 3890: 3881: 3861: 3853: 3849:Ashbrook, p. 93 3848: 3844: 3839: 3835: 3830: 3826: 3814: 3810: 3803: 3783: 3782: 3778: 3768: 3766: 3757: 3756: 3752: 3742: 3740: 3723: 3719: 3709: 3707: 3698: 3697: 3693: 3687: 3680: 3678: 3665: 3664: 3660: 3654: 3647: 3645: 3627: 3623: 3618: 3614: 3609: 3600: 3594: 3587: 3585: 3570: 3569: 3565: 3559: 3552: 3550: 3533: 3529: 3519: 3517: 3508: 3507: 3500: 3493: 3479: 3475: 3470: 3463: 3458: 3454: 3450:Ashbrook, p. 82 3449: 3445: 3440: 3436: 3431: 3427: 3422: 3418: 3410: 3409: 3407: 3403: 3398: 3394: 3389: 3385: 3380: 3376: 3371: 3360: 3355: 3351: 3346: 3342: 3337: 3330: 3325: 3321: 3316: 3312: 3307: 3303: 3298: 3294: 3289: 3285: 3280: 3276: 3271: 3267: 3262: 3251: 3245: 3238: 3236: 3223: 3216: 3211: 3204: 3199: 3192: 3187: 3183: 3172: 3168: 3164:Osborne, p. 143 3163: 3159: 3154: 3145: 3140: 3136: 3131: 3127: 3122: 3118: 3102: 3101: 3097: 3092: 3085: 3080: 3076: 3069:Nuova Antologia 3065: 3061: 3056: 3047: 3037: 3035: 3027:The Independent 3015: 3011: 3001: 2999: 2975: 2971: 2961: 2959: 2946: 2945: 2941: 2936: 2932: 2922: 2920: 2916: 2905: 2899: 2892: 2887: 2883: 2878: 2874: 2869: 2860: 2850: 2848: 2839: 2838: 2834: 2829: 2822: 2817: 2813: 2808: 2804: 2799: 2792: 2787: 2783: 2779:Ashbrook, p. 77 2778: 2771: 2766: 2759: 2754: 2741: 2734: 2728: 2720: 2716: 2711: 2704: 2699: 2695: 2690: 2686: 2681: 2677: 2672: 2665: 2661:Osborne, p. 139 2660: 2649: 2644: 2640: 2635: 2631: 2626: 2615: 2610: 2601: 2596: 2592: 2587: 2580: 2575: 2560: 2555: 2548: 2543: 2539: 2534: 2530: 2526:Nicassio, p. 18 2525: 2521: 2516: 2512: 2508:Nicassio, p. 47 2507: 2503: 2498: 2494: 2489: 2485: 2481:Nicassio, p. 46 2480: 2476: 2472:Nicassio, p. 35 2471: 2467: 2462: 2458: 2453: 2449: 2444: 2440: 2436:Osborne, p. 115 2435: 2431: 2421: 2419: 2410: 2409: 2402: 2397: 2390: 2386:Nicassio, p. 17 2385: 2381: 2376: 2372: 2367: 2356: 2351: 2347: 2342: 2338: 2333: 2329: 2324: 2320: 2315: 2311: 2307:Nicassio, p. 11 2306: 2302: 2294: 2290: 2280: 2278: 2271:theartsdesk.com 2259: 2255: 2250: 2243: 2234: 2205: 2160:Antonio Pappano 2148:Plácido Domingo 2137:Giuseppe Taddei 2101:Erich Leinsdorf 2046:Beniamino Gigli 2032:and with stars 1992:, had been the 1978: 1972: 1959: 1949: 1939: 1925: 1910: 1896: 1886: 1876: 1861: 1852:("Go, Tosca!") 1851: 1841: 1831: 1821: 1798: 1797: 1789: 1787: 1786: 1785: 1784: 1775: 1768: 1765: 1759: 1758: 1757: 1748: 1741: 1738: 1732: 1731: 1730: 1724: 1717: 1714: 1708: 1707: 1706: 1692: 1685: 1682: 1676: 1675: 1674: 1668: 1661: 1658: 1651: 1645: 1640: 1584:tenor trombones 1566:in B-flat; two 1533: 1531:Instrumentation 1467: 1455: 1454: 1423:Cantata a Giove 1402: 1369: 1325: 1312:Robert Dornhelm 1304: 1287:Charles Osborne 1241:Nuova antologia 1233: 1225:Beniamino Gigli 1210:Plácido Domingo 1159: 1147:Jonathan Miller 1041: 1021:Francesco Cilea 1017:Pietro Mascagni 946:Teatro Costanzi 927: 922: 899: 797: 740: 722:hour of need: " 699:Palazzo Farnese 675: 596: 511: 505: 500: 476:A Shepherd boy 432:Ettore Borelli 392:chief of police 390:Baron Scarpia, 345: 329: 326: 264:Sarah Bernhardt 239: 233: 155:Teatro Costanzi 139:Giacomo Puccini 122: 121: 118:Teatro Costanzi 115: 110: 108: 94: 73: 52: 39:Giacomo Puccini 24: 17: 12: 11: 5: 5083: 5073: 5072: 5067: 5062: 5057: 5052: 5047: 5042: 5037: 5032: 5027: 5022: 5017: 5012: 5007: 5005:Verismo operas 5002: 4985: 4984: 4961: 4960: 4958: 4957: 4956: 4955: 4948: 4941: 4934: 4921: 4919: 4915: 4914: 4912: 4911: 4903: 4895: 4887: 4878: 4876: 4872: 4871: 4857: 4856: 4849: 4842: 4834: 4825: 4824: 4822: 4821: 4811: 4798: 4795: 4794: 4792: 4791: 4786: 4781: 4779:Giulio Ricordi 4776: 4770: 4768: 4764: 4763: 4761: 4760: 4754: 4748: 4745:Jacopo Puccini 4741: 4739: 4735: 4734: 4732: 4731: 4723: 4715: 4707: 4699: 4691: 4682: 4680: 4676: 4675: 4673: 4672: 4664: 4655: 4653: 4649: 4648: 4646: 4645: 4638: 4631: 4624: 4617: 4610: 4603: 4596: 4589: 4582: 4575: 4568: 4561: 4554: 4547: 4540: 4532: 4530: 4526: 4525: 4523: 4522: 4521: 4520: 4507: 4506: 4505: 4504: 4503: 4491: 4484: 4469: 4461: 4453: 4452: 4451: 4438: 4437: 4436: 4423: 4422: 4421: 4408: 4400: 4392: 4383: 4381: 4377: 4376: 4371: 4368: 4367: 4360: 4359: 4352: 4345: 4337: 4331: 4330: 4317: 4312: 4307: 4294: 4293:External links 4291: 4290: 4289: 4265: 4259: 4242: 4239: 4238: 4237: 4231: 4215: 4209: 4194: 4188: 4168: 4162: 4147: 4141: 4125: 4119: 4104: 4096:Newman, Ernest 4092: 4086: 4074:, ed. (2000). 4068: 4061: 4052:Opera as Drama 4047:Kerman, Joseph 4043: 4037: 4022: 4010: 4004: 3991: 3985: 3970: 3964: 3944: 3932: 3926: 3910: 3904: 3892:Budden, Julian 3888: 3879: 3852: 3851: 3842: 3833: 3824: 3808: 3801: 3776: 3750: 3717: 3691: 3658: 3621: 3612: 3598: 3563: 3527: 3498: 3491: 3473: 3461: 3459:Newman, p. 150 3452: 3443: 3434: 3432:Budden, p. 217 3425: 3423:Newman, p. 245 3416: 3401: 3399:Newman, p. 244 3392: 3390:Budden, p. 216 3383: 3374: 3358: 3349: 3347:Budden, p. 212 3340: 3328: 3326:Newman, p. 235 3319: 3317:Newman, p. 221 3310: 3308:Newman, p. 191 3301: 3299:Budden, p. 207 3292: 3290:Budden, p. 203 3283: 3281:Newman. p. 114 3274: 3265: 3249: 3226:Budden, Julian 3214: 3202: 3190: 3181: 3166: 3157: 3155:Budden, p. 222 3143: 3141:Newman, p. 465 3134: 3125: 3123:Carner, p. 468 3116: 3095: 3083: 3074: 3059: 3045: 3009: 2969: 2939: 2930: 2890: 2881: 2872: 2858: 2832: 2820: 2818:Budden, p. 225 2811: 2802: 2800:Budden, p. 199 2790: 2781: 2769: 2767:Budden, p. 198 2757: 2739: 2714: 2712:Budden, p. 197 2702: 2693: 2691:Budden, p. 195 2684: 2675: 2673:Budden, p. 194 2663: 2647: 2638: 2629: 2613: 2599: 2597:Budden, p. 189 2590: 2588:Budden, p. 185 2578: 2558: 2546: 2537: 2528: 2519: 2510: 2501: 2492: 2483: 2474: 2465: 2456: 2447: 2438: 2429: 2400: 2388: 2379: 2370: 2354: 2345: 2336: 2327: 2325:Budden, p. 181 2318: 2309: 2300: 2298:, p. 370. 2296:Tommasini 2018 2288: 2253: 2251:Kerman, p. 205 2240: 2233: 2230: 2204: 2201: 2172:Roberto Alagna 2129:Leontyne Price 2117:Leonard Warren 2113:Jussi Björling 2103:conducted the 2050:Maria Caniglia 1971: 1968: 1965: 1964: 1961: 1955: 1954: 1951: 1948:"O dolci mani" 1945: 1944: 1941: 1931: 1930: 1927: 1921: 1920: 1916: 1915: 1912: 1902: 1901: 1898: 1892: 1891: 1888: 1882: 1881: 1878: 1872: 1871: 1867: 1866: 1863: 1857: 1856: 1853: 1847: 1846: 1843: 1837: 1836: 1833: 1827: 1826: 1823: 1813: 1812: 1808: 1807: 1804: 1788: 1782:Victor Records 1778:Antonio Scotti 1776: 1766: 1761: 1760: 1755:Edison Records 1749: 1739: 1734: 1733: 1725: 1715: 1712:"Vissi d'arte" 1710: 1709: 1695:Pasquale Amato 1693: 1683: 1678: 1677: 1669: 1659: 1654: 1653: 1652: 1643: 1642: 1641: 1639: 1636: 1532: 1529: 1466: 1463: 1401: 1398: 1386:counter-melody 1368: 1365: 1324: 1321: 1303: 1300: 1275:Thomas Beecham 1232: 1229: 1194:Roberto Alagna 1072:Antonio Scotti 1048:Antonio Scotti 1040: 1037: 926: 923: 921: 918: 796: 793: 789:flings herself 739: 736: 701:, that evening 674: 671: 639:Mary Magdalene 626:. The elderly 595: 592: 504: 501: 499: 496: 493: 492: 486: 485: 482: 477: 473: 472: 469: 466: 462: 461: 458: 455: 448: 447: 444: 441: 439:a police agent 434: 433: 430: 427: 423: 422: 417: 412: 405: 404: 399: 394: 387: 386: 381: 376: 369: 368: 363: 358: 354:Floria Tosca, 351: 350: 342: 337: 325: 322: 317:Deborah Burton 290:Emanuele Muzio 279:Giulio Ricordi 235:Main article: 232: 229: 141:to an Italian 124: 123: 116: 106: 104: 100: 99: 87: 83: 82: 79: 75: 74: 72: 71: 66: 60: 58: 54: 53: 50: 42: 41: 31: 30: 15: 9: 6: 4: 3: 2: 5082: 5071: 5068: 5066: 5063: 5061: 5058: 5056: 5053: 5051: 5048: 5046: 5043: 5041: 5038: 5036: 5033: 5031: 5028: 5026: 5023: 5021: 5018: 5016: 5013: 5011: 5008: 5006: 5003: 5001: 4998: 4997: 4995: 4988: 4983: 4978: 4973: 4972: 4969: 4953: 4949: 4946: 4942: 4939: 4935: 4933: 4930: 4929: 4928: 4927: 4923: 4922: 4920: 4916: 4909: 4908: 4904: 4901: 4900: 4896: 4893: 4892: 4888: 4885: 4884: 4880: 4879: 4877: 4873: 4868: 4864: 4863: 4855: 4850: 4848: 4843: 4841: 4836: 4835: 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A lyrical 1438: 1433: 1432: 1431:grand guignol 1426: 1424: 1419: 1415: 1406: 1397: 1395: 1389: 1387: 1383: 1379: 1375: 1364: 1362: 1358: 1354: 1349: 1346: 1342: 1338: 1334: 1330: 1323:General style 1317: 1313: 1308: 1299: 1297: 1292: 1288: 1284: 1283:Julian Budden 1280: 1279:Ernest Newman 1276: 1272: 1268: 1267:Joseph Kerman 1264: 1263:Gabriel Fauré 1260: 1256: 1255: 1250: 1245: 1242: 1238: 1228: 1226: 1221: 1219: 1215: 1211: 1207: 1199: 1195: 1191: 1187: 1185: 1181: 1177: 1173: 1169: 1163: 1158: 1154: 1153: 1148: 1144: 1139: 1137: 1133: 1129: 1125: 1121: 1117: 1113: 1112:Maria Jeritza 1109: 1108:Enrico Caruso 1105: 1100: 1098: 1093: 1092:Opéra-Comique 1089: 1085: 1081: 1077: 1073: 1069: 1065: 1064:Milka Ternina 1061: 1057: 1049: 1045: 1036: 1034: 1028: 1026: 1022: 1018: 1014: 1013:Luigi Pelloux 1010: 1006: 1001: 999: 994: 989: 987: 983: 979: 978:Enrico Caruso 975: 971: 967: 963: 959: 955: 951: 947: 943: 935: 934:Enrico Caruso 931: 917: 914: 913: 907: 903: 898: 894: 893:Roman dialect 890: 886: 882: 877: 876:to this day. 875: 870: 865: 861: 857: 853: 848: 845: 841: 836: 832: 828: 827: 821: 813: 809: 807: 802: 792: 790: 784: 780: 776: 774: 770: 766: 758: 753: 749: 748: 746: 735: 731: 727: 725: 719: 715: 711: 709: 703: 702: 700: 690: 683: 679: 670: 668: 662: 658: 654: 650: 646: 644: 640: 635: 633: 629: 625: 621: 613: 608: 604: 603: 602: 591: 589: 585: 581: 576: 574: 570: 566: 562: 558: 554: 550: 546: 542: 541:Central Italy 538: 533: 531: 527: 520: 515: 510: 491: 487: 484:Angelo Righi 483: 481: 478: 475: 474: 470: 467: 464: 463: 459: 456: 454: 453:another agent 450: 449: 445: 442: 440: 436: 435: 431: 428: 425: 424: 421: 420:Ruggero Galli 418: 416: 413: 411: 407: 406: 403: 400: 398: 395: 393: 389: 388: 385: 382: 380: 377: 375: 371: 370: 367: 364: 362: 359: 357: 353: 352: 349: 343: 341: 338: 335: 334: 321: 318: 314: 309: 307: 301: 299: 295: 291: 286: 284: 280: 276: 271: 269: 265: 261: 253: 249: 248: 243: 238: 228: 225: 221: 220:Joseph Kerman 217: 214: 210: 206: 202: 198: 193: 190: 184: 182: 178: 174: 170: 166: 165: 160: 156: 152: 148: 144: 140: 136: 132: 131: 119: 105: 101: 98: 93: 92: 88: 84: 80: 76: 70: 67: 65: 62: 61: 59: 55: 48: 43: 40: 36: 32: 27: 22: 4987: 4945:Vissi d'arte 4925: 4924: 4905: 4897: 4889: 4881: 4860: 4801: 4784:Puccini Spur 4726: 4718: 4710: 4702: 4694: 4686: 4666: 4658: 4600:Nessun dorma 4572:Vissi d'arte 4509: 4493: 4486: 4479: 4471: 4463: 4455: 4440: 4426: 4425: 4410: 4402: 4394: 4386: 4321: 4299: 4285:The Guardian 4283: 4277: 4249: 4222: 4199: 4177: 4152: 4132: 4109: 4099: 4076: 4072:Neef, Sigrid 4051: 4027: 4017: 3995: 3975: 3952: 3948: 3939: 3917: 3895: 3884: 3868: 3855: 3854: 3845: 3836: 3827: 3820:Roger Parker 3815: 3811: 3786: 3779: 3767:. 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