Tosca

from Wikipedia, the free encyclopedia
Opera dates
Title: Tosca
Original poster by Adolfo Hohenstein for the world premiere of Tosca

Original poster by Adolfo Hohenstein for the world premiere of Tosca

Original language: Italian
Music: Giacomo Puccini
Libretto : Giuseppe Giacosa and Luigi Illica
Literary source: La Tosca by Victorien Sardou
Premiere: January 14, 1900
Place of premiere: Teatro Costanzi , Rome
Playing time: about 2 hours
Place and time of the action: Rome on June 17th and 18th, 1800
people
  • Floria Tosca, opera singer ( soprano )
  • Mario Cavaradossi, painter ( tenor )
  • Baron Scarpia, Chief of Police ( baritone )
  • Spoletta, gendarme (tenor)
  • Sciarrone, gendarme ( bass )
  • Cesare Angelotti, political prisoner (bass)
  • Sacristan (bass)
  • Normally open (bass)
  • A shepherd boy (boy soprano )

Tosca is an opera in three acts composed by Giacomo Puccini . The libretto written Giuseppe Giacosa and Luigi Illica based on the drama La Tosca by Victorien Sardou . The premiere took place on January 14, 1900 at the Teatro Costanzi in Rome, today's Teatro dell'Opera di Roma , under the conductor Leopoldo Mugnone. The German-language premiere at the Semperoper in Dresden followed on October 21, 1902 . The premiere at the Deutsches Opernhaus Berlin under the direction of Ignatz Waghalter on May 20, 1920 was also significant for the history of reception in Germany .

action

The opera will take place in Rome on June 17th and 18th, 1800.

Prehistory and background

Contrary to popular belief, Tosca's subject is not historical. Rather, the characters and the plot are fictitious. The background against which the plot develops is historically determined.

In February 1798, French troops in had War of the Second Coalition of the Papal States conquered and the Roman republic established (Cesare Angelotti in Tosca former Consul of the Republic). After the victory of the Russian-Austrian coalition troops in the Battle of the Trebbia (June 19, 1799), the French withdrew from Rome; on September 30, 1799, the Neapolitan army marched into Rome under King Ferdinand IV . As in Naples, representatives of the former republic were subsequently subjected to bloody acts of revenge and persecution (Angelotti was imprisoned in Castel Sant'Angelo ).

In France, Napoleon Bonaparte took over the government as the first consul with the coup d'état on November 9, 1799 . After the coalition rejected a peace offer, he began a campaign against Austria in the spring of 1800 and in May 1800 crossed the Alps with his army to northern Italy. On June 14, 1800, the battle of Marengo broke out in Piedmont between the troops of France and Austria. Around noon the Austrians stormed Marengo, and the French had to withdraw (therefore - two days later - Tosca reported the victory over Napoleon in Act 1 ); in the afternoon, however, the French were able to turn the battle around and finally defeat the coalition troops (news of the defeat of the coalition on the evening of June 16 in Tosca Act 2 ).

first act

(In the church of Sant'Andrea della Valle )

Interior of the church of Sant'Andrea della Valle; Scene of the first act of Tosca

The political prisoner Angelotti fled the Castel Sant'Angelo state prison to the church of Sant'Andrea della Valle; he is hiding there in the Attavanti's family chapel when the sacristan (sexton) comes into the church. The painter Mario Cavaradossi, a friend of Angelotti's, designed the altarpiece in this church. He draws the figure of Maria Magdalena based on the model of a beautiful stranger who has often been seen in church lately. Although Cavaradossi admits that the stranger had served him as a model, he asserts that his heart belongs only to his lover, the singer Floria Tosca (“Recondita armonia”).

Cavaradossi wants to help his friend Angelotti and locks the door of the church so as not to be surprised. Tosca appears and Angelotti has to hide again. The locked door makes Tosca jealous; she accuses Cavaradossi of infidelity. Cavaradossi can defuse the situation and arrange a meeting for the evening, but Tosca's jealousy rekindles when she recognizes Countess Attavanti in the picture painted by Cavaradossi.

When Cavaradossi and Angelotti plan to flee after Tosca's departure, they hear a cannon shot from Castel Sant'Angelo, which reports that Angelotti's escape has been discovered. Cavaradossi leaves the church with Angelotti to hide him in his house.

The sacristan enters the church with the news of the victory of the Austrian troops at Marengo. Police chief Baron Scarpia, who is chasing Angelotti, enters the church. A fan belonging to Sister Angelotti's, the portrait of the Madonna and an emptied dining basket substantiate his suspicions that Cavaradossi was helping Angelotti to escape. Tosca returns to the church to tell Cavaradossi that she should sing at the Victory Festival that evening. She meets Scarpia, who stirs up her jealousy to learn from her what Cavaradossi is planning. When Tosca leaves to confront Cavaradossi, Scarpia sends the police agent Spoletta on the trail ("Tre sbirri ...").

Second act

(Scarpia's rooms in the Palazzo Farnese )

Scarpia orders the gendarme Sciarrone to invite Tosca. Police agent Spoletta reports on the unsuccessful search of Villa Cavaradossis. He did not find the escaped Angelotti there, only Cavaradossi, whom he brought with him for interrogation. When Cavaradossi refuses to reveal Angelotti's whereabouts, Scarpia has Cavaradossi tortured in the next room so that Tosca can hear his screams. Despite the torture, Cavaradossi does not reveal his friend's hiding place. Tosca, however, finally collapses and reveals Angelotti's hiding place. When Scarpia's agents want to arrest him, Angelotti kills himself.

Sciarrone brings Scarpia the news of Napoleon's victory against the Austrians allied with the Papal States in the Battle of Marengo. When Cavaradossi heard this, he was emphatically committed to his political ideals. Thereupon Scarpia has Cavaradossi taken away for execution. Tosca asks Scarpia to save Cavaradossi's life and asks the price for it ("Quanto? ... Il prezzo."). Scarpia admits that it can be bought, but in return for the release of Cavaradossi does not demand money, but that Tosca be at his will ("Sì, t'avrò"). When Tosca realizes that she has little time left to save Cavaradossi, she laments her lot ( Arie Vissi d'arte ( I lived for art )) and agrees to the deal. Scarpia then gives Spoletta the order to have Cavaradossi and Count Palmieri (“Come facemo del conte Palmieri”) executed only in appearance. Tosca sets two conditions: She wants to inform Cavaradossi of the pardon herself and she demands a letter of safe conduct for herself and Cavaradossi to escape from the Papal States. While Scarpia is writing this letter, Tosca sees a knife on the table, she takes it and when Scarpia tries to pull Tosca to herself (“Tosca, finalmente mia!”), She thrusts the knife into his chest (“Questo è il bacio di Tosca "). Tosca takes the letter of safe conduct that Scarpia holds in death. Then she places two candles next to the dead man and places a cross on his chest (“E avanti lui tremava tutta Roma” - “And all of Rome trembled before him”).

Third act

(Prison in Castel Sant'Angelo )

Preparations are being made for the shooting of Cavaradossi on the platform of Castel Sant'Angelo. He writes a farewell letter to Tosca and remembers her first night of love and the beautiful and now ending life (one of the most famous and popular opera arias: E lucevan le stelle ).

Tosca has gone to the prison with Scarpia's pass and tells her lover that the sentence should only be carried out pretend. She instructs him to play along and to let himself fall realistically after the shots with blank cartridges. After the firing squad has withdrawn, she wants to travel to freedom with him. The firing squad appears and shoots Cavaradossi. Tosca wants to help him up after his departure and is shocked to realize that Scarpia has cheated on her too: Cavaradossi is really dead. In the meantime, Scarpia's death has also been discovered. When Tosca is about to be arrested by the gendarmes, she rushes from Castel Sant'Angelo with the exclamation “O Scarpia, avanti a Dio!” (“Oh Scarpia, to God!”).

Emergence

Victorien Sardou's drama La Tosca premiered in Paris on November 24, 1887. The play was a huge international success and was starred all over Europe with Sarah Bernhardt ; by 1908 there should have been around 3,000 performances.

Two years after the premiere, Puccini read the piece for the first time. On May 7, 1889, shortly after the premiere of his opera Edgar , Puccini wrote to his publisher Giulio Ricordi and asked him to ask Sardou for the rights to compose a libretto: “[...] I see my opera in this Tosca : balanced proportions, no theatrically decorative excess, not the usual musical preponderance. ”It was not until August of the following year that Puccini saw the drama at a performance with Sarah Bernhardt in Milan, albeit in French; Puccini should only use the words “Malheureuse! Malheureuse! ”(“ Unhappy! Unhappy! ”). The project of the opera Tosca was initially not specifically pursued, and it is also questionable whether Sardou would have left the rights to his successful piece to a composer who was still relatively unknown at the time. Puccini devoted himself to the operas Manon Lescaut (1893) and La Bohème (1896).

Luigi Illica

It was not until 1895 that Puccini came back to Tosca, allegedly also because Verdi , the father of the Italian opera scene at the time, had expressed his approval of the subject. In the meantime Ricordi von Sardou had acquired the rights to La Tosca and commissioned Luigi Illica to write a libretto for Alberto Franchetti to set. Puccini, who was not squeamish about such questions (he had already passed over his friend Ruggero Leoncavallo in La Bohème ), now induced Ricordi to persuade the originally intended composer Franchetti to give up the allegedly unsuitable material for an opera. Ricordi, who wanted to build up Puccini as successor to Verdi after his first successes for his publishing house, turned to Franchetti accordingly and the latter, who had already assigned Illica's libretto for Andrea Chenier to Umberto Giordano , actually resigned from his contract and left Puccini to a large extent finished text. On August 9, 1895 he reported to a friend: "I will do Tosca, Illica libretto excellent, three acts, Sardou enthusiastic about the libretto." In October 1895 the composer went to Florence especially to see Sarah Bernhardt again as Tosca . However, more than three years would pass before the work on the libretto for Tosca was completed .

Giuseppe Giacosa

On Ricordi's recommendation, Giuseppe Giacosa, who had already worked on La Bohème , was brought in as the second librettist; he should primarily take care of the formulation of the individual verses, Illica the dramatic structure. The collaboration of the trio Puccini, Illica and Giacosa was anything but tension-free, the work was several times before the demolition. Giacosa had already explained to Ricordi at the beginning of his collaboration: "Ci metto mano, ma declino ogni responsabilità - I will lend a hand, but I refuse any responsibility." a remarkable judgment from the co-author of an opera text, who is considered one of the best ever. Giacosa was fundamentally not convinced of the subject matter of Tosca ; he even said that the subject was "unsuitable for musical theater" and in the meantime offered Ricordi to return the advance payment he had received and to quit the work entirely.

In addition to Puccini, Illica, Giacosa and Ricordi, the four main people responsible for Tosca's libretto , Sardou also contributed indirectly to the creation of the text. He agreed to Illica's reduction, but demanded the horrific sum of 50,000 francs for the transfer of the rights; Finally, they agreed on 15% of the income from Tosca performances (at that time a maximum of 10% was usual) Puccini discussed several times with Sardou, who kept coming up with unusual suggestions: He wanted Tosca to jump from the Castel Sant'Angelo directly into the Tiber, regardless that the Tiber does not flow directly past the Castel Sant'Angelo, and let the sun rise over St. Peter's Basilica (St. Peter's Basilica is in the west of the Castel Sant'Angelo). Here Sardou gave in, but he did not accept that the heroine would sink to the ground “dead” in the end, nor that she should go insane, but insisted Tosca jump from the platform of Castel Sant'Angelo to her death. On the other hand, the death of the police agent Spoletta, which would have been the fifth death in Tosca , was not considered.

The draft text for the opera was completed at the end of 1896. In 1897 the project stalled, and Puccini was mainly busy with the performance of his finished operas. He did not begin to compose until the summer of 1898, and on August 18 he began the finale of the first act; In February 1899, after returning from another trip to Paris, the second act followed. For the end of the first act and for the third act, Puccini sought advice from a friend of his Roman clergy in order to make the respective scenes as realistic and true to the original as possible can. On September 29, 1899 (according to the diary entry at 4:15 a.m.), Puccini completed the third act.

Publisher Giulio Ricordi (1897)

During the final work, on October 10, 1899, Puccini received a fire letter from Ricordi, who complained heavily about the third act, which in his opinion was unsuccessful: “The Tosca-Cavaradossi duet (...), a torn two-song with insignificant ideas which only the characters reduce (...) underlaid with a melody that is fragmentary and too undemanding (...) Where has that Puccini gone, the master of noble, warm, powerful inspiration? "Ricordi feared" devastating consequences "for his publisher and for the fame of Puccini and suggested that the duet in question should be completely rewritten. In his reply of October 12, Puccini insisted on the present version, he made no significant changes, and Ricordi finally gave in, especially since the time up to the premiere, which was set for mid-January 1900, was too advanced for any major changes to undertake.

The criticism followed the composer here , not least because of the success of Tosca : “Here Puccini proves to be the 'more modern' artist, his interpretation goes deeper psychologically. Giulio Ricordi, on the other hand, is still the representative of the older operatic standpoint, which, even in the most tense situation, still demands 'melody', still melodious sound in uninterrupted streams. ”Recently, however, the question has also been raised whether Ricordi in the dispute over the“ (greatest) compositional weak point “Perhaps the opera could not have been wrong after all.

Performance history

premiere

Cast of the premiere
role Voice compartment Vocal range occupation
Floria Tosca , singer soprano c 1 - c 3 Hariclea Darclée
Mario Cavaradossi , painter tenor des - h 1 Emilio De Marchi
Baron Scarpia , chief of police baritone H - total 1 Eugenio Giraldoni
Cesare Angelotti, former consul bass c - e 1 Ruggero Galli
Sacristan bass As - e 1 Ettore Borelli
Spoletta, police agent tenor c sharp - f sharp 1 Enrico Giordano
Sciarrone, police agent bass d - d 1 Giuseppe Gironi
Jailer bass H - des Aristide Parassani
Shepherd boy Boyhood h - e 2 Angelo Righi
The three main roles are highlighted

Tosca was first performed on January 14, 1900 at the Teatro Costanzi , later the Teatro Reale dell'Opera . Since Rome was the location of the opera, the choice of the premiere location was obvious; but it was also suspected that Puccini wanted to avoid northern Italian opera houses, where he had recently had bad experiences with world premieres. The anti-clerical material of the opera was no obstacle to a premiere, as the socially relevant circles of Rome at that time (Pope and Church had not participated in the political life of Italy since the occupation of the Papal States in 1871) were anti-clerical. As with La Bohème , the conductor of the premiere was Leopoldo Mugnone , since Arturo Toscanini was contractually bound to Scala.

Adolfo Hohenstein , who also designed the famous Art Nouveau- inspired posters, was hired for the stage sets and costumes . The poster showing Tosca placing a cross on the chest of Scarpia, who was killed by her, has become emblematic of the opera. At the premiere, Hohenstein established a tradition that extends to the present day. In the spirit of realism, he recreated the original locations on the stage for all three acts: the interior of the church of Sant'Andrea della Valle, Scarpia's office in Palazzo Farnese and the platform of Castel Sant'Angelo.

Entrance of today's Teatro dell'Opera , Teatro Costanzi until 1926

The world premiere of Tosca was a major social event: the audience included Prime Ministers, Ministers of Culture, Senators and Members of Parliament, from the second act also the Queen, plus the country's cultural elite, such as the composers Pietro Mascagni and Francesco Cilea and Siegfried Wagner . The external circumstances, however, were anything but favorable: the economic situation in Italy was bad at the turn of the century, the parliament had been dissolved, King Umberto and Prime Minister Pelloux pursued a repressive course that made the situation even worse ; the country was practically under a military dictatorship. The atmosphere before the premiere was tense, there had even been a bomb threat. Shortly after the performance began, there was great unrest in the audience, so that Mugnone, who had recently witnessed a bomb attack in Barcelona , broke off the performance in the middle of Cavaradossi's first aria Recondita armonia . After a ten minute break, they started all over again.

The premiere was a great, if not a triumphant success for Puccini; this was brought a little later by the first performance in Milan under Toscanini on March 17, 1900. In Rome Tosca received a lot of applause and numerous curtains, three of which were for Puccini alone, and unlike La Bohème there were neither whistles nor boos. The press echo was divided, many reviewers were irritated by the novelty of the piece, but especially by the drastic, brutal subject. The first reason for the success was the audience who wanted to see Puccini's novel opera. Three weeks later, the 14th performance took place in Rome, and the owners of the Teatro Constanti posted a record revenue.

distribution

Scarpia and Tosca, St. Margarethen Opera Festival 2015, director: Robert Dornhelm , with Martina Serafin in the title role

The opera was performed on the most important stages in Italy soon after its premiere. Tosca was played in the premiere cast in Turin on February 20, 1900 ; Milan followed in March, Verona in April, Genoa in May, Lucca in September and Bologna in November. The opera in Buenos Aires and London had already achieved its first international successes. In Germany the first performance of Tosca took place three years after the world premiere on October 21, 1902 in Dresden under Ernst von Schuch and achieved a triumphant success. The singers for this performance in German were Irene Abendroth , Carl Burrian and Karl Scheidemantel .

Tosca has been an integral part of the operatic repertoire from the first performance and is one of the five most frequently performed operas worldwide; In the 2012/2013 season alone there were 429 performances in 94 cities.

Productions

From the start, the focus of attention was mostly on the title role, "which made the work the prima donna opera par excellence". Emma Eames , Geraldine Farrar , Emmy Destinn and Claudia Muzio shaped the roles in the first decades. Claudia Muzio deserves special mention, who based her portrayal, but also her entire appearance, on Sarah Bernhardt and who thus created a Tosca style that is still used today. Maria Jeritza's “garish-theatrical interpretation that exhausts the veristic potential of the part to the last” also caused a sensation , in 1921 in New York, 1925 in London and 1928 in Paris. The long common practice of singing the aria “Vissi d'arte” while lying on the floor goes back to Jeritza.

This striking, theatrical line of interpretation was common until the 1950s and 1960s, in some cases up to the present day. Maria Callas found a new approach , although she did not really like the role type, broke away from the “prima donna cliché and highlighted the fragility of character in borderline situations”. Her interpretation of the role set standards, especially in her late performances in New York in 1956 and in Paris 1958. Together with her congenial partner Tito Gobbi as Scarpia, an outstanding production was created in London under the direction of Franco Zeffirelli in 1964 and 1965 (with Maria Callas' last stage appearance at all): “Callas, Gobbi and Zeffirelli created an exemplary one for decades Music theater in the true sense of the word, in which the arts of acting and singing were inseparable. […] Like other roles, which were re-created by Callas, her Tosca from then on also formed the point of reference for almost all later interpretations, not only for the singers, but also for conductors and directors. ”A film recording of the second act has been preserved and gives an impression of this staging.

Due to the precise details of the place and time of the action in the score, Tosca's productions are given more precise parameters than in other operas. Historically interpretations that are more or less true to detail are therefore obvious, especially for this opera, and are used time and again as a kind of standard Tosca , which then does not require any further interpretation. Some of these productions, such as in Vienna, have been played unchanged for decades. This approach extends to direct recourse to Hohenstein's premiere equipment, for example in the staging by Mauro Bologini in Rome in 1964 or in Berlin in 1969 with scenes based on Hohenstein. Brian Large (director) and Zubin Mehta (conductor) went one step further in historicizing realism in 1992, not only having the three acts played at the original locations for a live broadcast of the opera on television, but also at the "real" times of the day the libretto, i.e. at noon in the church, in the evening in the Palazzo Farnese and at dawn on the Castel Sant'Angelo (with Catherine Malfitano as Tosca, Plácido Domingo as Cavaradossi and Ruggero Raimondi as Scarpia); the orchestra played off. Jonathan Miller pursued a different direction , who in 1986 emphasized the political dimension of the subject and in a co-production of the Maggio Musicale Florence and the English National Opera " told Tosca as a Resistancea story from the German-occupied Rome in 1944." Singer of the production were Éva Marton , Giuseppe Giacomini and Silvano Carroli ; Scarpia was the chief of the fascist military police OVRA and Cavaradossi was resistance fighter. Ruth Berghaus in Dresden, Nikolaus Lehnhoff in Amsterdam (1998) and Baden-Baden (2007), as well as Philipp Kochheim 2006 in Darmstadt, where the translation of the material into other circumstances characterized by tyranny, which are closer to the present, took place among others Scarpia's henchmen appeared in battle gear and with submachine guns.

Giancarlo Del Monaco and Ben Willikens took a third path beyond historicization and reference to the present in Hamburg in 1989: They converted the plot "into archetypal situations of persecution, horror and death using a surreal, symbolic imagery" (singer: Leona Mitchell , Giacomo Aragall and Ingvar Wixell ; conductor: Leonhard Slatkin). In 2007 Phillip Himmelmann interpreted the opera on the Bregenz lake stage in front of a suggestive set with a huge eye. This production became known in particular through the sequences in the James Bond film Quantum of Solace . An extreme point of this unreal, abstract performance practice is the staging by Roland Schwab in 2016 at the Staatstheater Braunschweig , in which the stage design consists almost entirely of light effects and in the equipment there is no historical reference.

music

orchestra

structure

Tosca is not a number opera , the individual “pieces” merge into one another; only the three highlighted are removed.

first act

  1. Ah! Final dues!
  2. Dammi i colori! ... Recondita armonia
  3. Gente là dentro!
  4. Mario! Mario! Mario!
  5. Ah, quegli occhi! ... Quale occhio al mondo può star di paro
  6. E buona la mia Tosca
  7. Un tal baccano in chiesa!
  8. Or tutto è chiaro ... Tosca? Che non mi veda ... Mario! Mario!
  9. Ed io venivo a lui tutta dogliosa
  10. Tre sbirri, una carrozza (Te Deum)

Second act

  1. Tosca è un buon falco!
  2. Ha più forte
  3. Meno paint!
  4. Dov'è dunque Angelotti?
  5. Ed or fra noi parliam da buoni amici ... Sciarrone, che dice il Cavalier?
  6. Orsù, Tosca, parlate
  7. Basta, Roberti
  8. Nel pozzo del giardino
  9. Se la giurata fede debbo tradir
  10. Vissi d'arte
  11. Vedi, le man giunte io stendo a te!
  12. E qual via scegliete?

Third act

  1. Io de 'sospiri
  2. Mario Cavaradossi? A voi
  3. E lucevan le stelle
  4. Ah! Franchigia a Floria Tosca
  5. O dolci mani mansuete e pure
  6. E non giungono
  7. Com'è lunga l'attesa!
  8. Presto! Su! Mario! Mario! Su! Presto! Andiam!

Discography (selection)

Between 1918 and 2009 Tosca made around 250 recordings .

Audio

(Year; conductor; Tosca, Cavaradossi, Scarpia, Angelotti; label)

Video

(Year; conductor; direction; performers; orchestra; label)

  • 1964; Carlo Felice Cillario; Maria Callas, Renato Cioni, Tito Gobbi; Royal Opera House Orchestra and Chorus (live, 2nd act only); DVD: EMI Classics
  • 1964; Robert Hanell ; Götz Friedrich ; Éva Harmath , Hanns Nocker , Vladimír Bauer , Rudolf Asmus , Josef Burgwinkel , Karl-Heinz Kossler, Fritz Hübner ; Komische Oper Berlin TV version .
  • 1976; Bruno Bartoletti ; Gianfranco De Bosio; Raina Kabaivanska, Plácido Domingo, Sherrill Milnes; New Philharmonia Orchestra; DVD: Deutsche Grammophon
  • 1993; Zubin Mehta; Brian Large ; Catherine Malfitano, Plácido Domingo, Ruggero Raimondi; RAI Orchestra Sinfonica and Coro di Roma (film of the TV broadcast); DVD: Teldec
  • 1998; Riccardo Chailly ; Misjel Vermeiren, Catherine Malfitano, Richard Margison, Bryn Terfel; Royal Concertgebouw Orchestra and Chorus of the Nederlandse Opera; DVD: Decca
  • 2001; Antonio Pappano; Benoît Jacquot, Angela Gheorghiu, Roberto Alagna, Ruggero Raimondi; Royal Opera House Orchestra and Chorus; DVD: EMI Classics
  • 2004; Maurizio Benini; Núria Espert; Daniela Dessì , Fabio Armiliato, Ruggero Raimondi; Teatro Real Orchestra and Chorus; DVD: Opus Arte
  • 2007; Valerio Galli; Mario Corradi; Antonia Cifrone, Stefano Secco, Giorgio Surian; Orchestra and Chorus of the Festival Puccini, Torre del Lago; DVD: Dynamic

literature

  • Norbert Christen: Tosca , in: Piper's Enzyklopädie des Musiktheater ; Vol. 5, Works Piccinni - Spontini. Piper, Munich and Zurich 1994, ISBN 3-492-02415-7 , pp. 106-113 ff.
  • Attila Csampai, Dietmar Holland (editor): Giacomo Puccini - Tosca. Texts, materials, comments , Rowohlt, Reinbek 1987, ISBN 978-3-499-18306-5 .
  • Michael Horst: Puccini Tosca ; Seemann Henschel / Bärenreiter, Kassel 2012, ISBN 978-3894879136 .
  • Kurt Pahlen: Tosca ; Wilhelm Goldmann Verlag, Munich 1984, ISBN 978-3442331116 .

Web links

Commons : Tosca  - collection of images, videos and audio files

Individual evidence

  1. ^ For example Tosca , program booklet of the Bavarian State Opera, Munich 1982;
  2. ^ The Tosca correspondence between Puccini, Giacosa, Illica and Giulio Ricordi , in: Attila Csampai, Dietmar Holland (editor): Giacomo Puccini - Tosca. Texts, materials, comments , Rowohlt Taschenbuch Verlag, Hamburg 1987; P. 155
  3. ^ Ernst Krause: June 17, 1800 ; in: Attila Csampai, Dietmar Holland (editor): Giacomo Puccini - Tosca. Texts, materials, comments , Rowohlt Taschenbuch Verlag, Hamburg 1987, p. 119
  4. ↑ Norbert Christen: Tosca, in: Piper's Enzyklopädie des Musiktheater , Munich, Zurich 1986, Volume 5, p. 108
  5. ^ Kurt Pahlen: Tosca ; Wilhelm Goldmann Verlag; Munich, 1984, p. 229
  6. ^ Ernst Krause: June 17, 1800 ; in: Attila Csampai, Dietmar Holland (editor): Giacomo Puccini - Tosca. Texts, materials, comments , Rowohlt Taschenbuch Verlag, Hamburg 1987, p. 121
  7. ↑ Michael Horst: Puccini Tosca ; Sailor Henschel / Bärenreiter; Kassel 2012; P. 42
  8. ↑ Michael Horst: Puccini Tosca ; Sailor Henschel / Bärenreiter; Kassel 2012; P. 43
  9. ^ Kurt Pahlen: Tosca ; Wilhelm Goldmann Verlag; Munich, 1984, p. 233
  10. ^ Kurt Pahlen: Tosca ; Wilhelm Goldmann Verlag; Munich, 1984, p. 232 f.
  11. ^ Kurt Pahlen: Tosca ; Wilhelm Goldmann Verlag; Munich, 1984, p. 230 f.
  12. ↑ Michael Horst: Puccini Tosca ; Sailor Henschel / Bärenreiter; Kassel 2012; P. 51
  13. ↑ Michael Horst: Puccini Tosca; Sailor Henschel / Bärenreiter; Kassel 2012; P. 49
  14. ^ Kurt Pahlen: Tosca ; Wilhelm Goldmann Verlag; Munich, 1984, p. 242 f.
  15. ^ Kurt Pahlen: Tosca ; Wilhelm Goldmann Verlag; Munich, 1984, p. 245 f.
  16. ↑ Michael Horst: Puccini Tosca ; Sailor Henschel / Bärenreiter; Kassel 2012; P. 99
  17. ^ Norbert Christen: Tosca , in: Piper's Enzyklopädie des Musiktheater , Munich, Zurich 1986, Volume 5, p. 111
  18. ↑ a b Michael Horst: Puccini Tosca ; Sailor Henschel / Bärenreiter; Kassel 2012; P. 57
  19. ↑ Michael Horst: Puccini Tosca ; Sailor Henschel / Bärenreiter; Kassel 2012; P. 58
  20. ↑ According to Operabase [1]
  21. ↑ a b c Norbert Christen: Tosca , in: Piper's Enzyklopädie des Musiktheater , Munich, Zurich 1986, Volume 5, p. 112
  22. ↑ a b Norbert Christen: Tosca , in: Piper's Enzyklopädie des Musiktheater , Munich, Zurich 1986, Volume 5, pp. 112-113
  23. ↑ Available on YouTube
  24. ↑ Michael Horst: Puccini Tosca ; Sailor Henschel / Bärenreiter; Kassel 2012; P. 110
  25. ↑ Information on Brian Large's "Live-Film" Tosca ( Memento from May 4, 2014 in the Internet Archive )
  26. ^ A b Norbert Christen: Tosca , in: Piper's Enzyklopädie des Musiktheater , Munich, Zurich 1986, Volume 5, p. 113
  27. ↑ Michael Horst: Puccini Tosca ; Sailor Henschel / Bärenreiter; Kassel 2012; P. 113
  28. ↑ Michael Horst: Puccini Tosca ; Sailor Henschel / Bärenreiter; Kassel 2012; P. 116
  29. ↑ Michael Horst: Puccini Tosca ; Sailor Henschel / Bärenreiter; Kassel 2012; P. 117
  30. ↑ Der Opernfreund: Unreal , accessed on October 11, 2016.
  31. ^ Discography on Tosca at Operadis.
  32. ^ Karl Löbl and Robert Werba Hermes Handlexikon Operas auf Schallplatten , Econ Verlag Düsseldorf 1981, Volume 2, p. 53.