Cavaradossi gives Angelotti a key to his villa, suggesting that he hide in a disused well in the garden. 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”).Īfter 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 explains the likeness he has merely observed the Marchesa at prayer in the church. She then expresses jealousy over the woman in the painting, whom she recognises as the Marchesa Attavanti. 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 cottage”). Tosca enters and suspiciously asks Cavaradossi what he has been doing – she thinks that he has been talking to another woman. Cavaradossi gives Angelotti his basket of food and Angelotti hurriedly returns to his hiding place. Tosca’s voice is heard, calling to Cavaradossi. Cavaradossi promises to assist him after nightfall. The Sacristan mumbles his disapproval before leaving.Īngelotti emerges and tells Cavaradossi, an old friend who has republican sympathies, that he is being pursued by the Chief of Police, Baron Scarpia. Cavaradossi describes the “hidden harmony” (“Recondita armonia”) in the contrast between the blonde beauty of his painting and his dark-haired lover, the singer Floria Tosca. 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). The painter Mario Cavaradossi arrives to continue work on his picture of Mary Magdalene.

The Sacristan kneels in prayer as the Angelus sounds.

The elderly Sacristan enters and begins cleaning. Photograph of a pre-1914 production at the old Metropolitan Opera House, New YorkĬesare Angelotti, former consul of the Roman Republic and now an escaped political prisoner, 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 Madonna. The Te Deum scene which concludes act 1 Scarpia stands at left.

Inside the church of Sant’Andrea della Valle

Synopsis of tosca opera