La Tosca - Knowledge

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explains that the execution will only be a mock one and they will be able to escape from Rome. Spoletta confirms this and leaves to prepare the firing squad. Alone with Cavaradossi, Tosca tells him that she has killed Scarpia. Spoletta returns to take Cavaradossi to the platform where the firing squad awaits and tells Tosca to remain behind. After a few minutes, Tosca goes out onto the platform and sees Cavaradossi lying on the ground. She turns him over and discovers that he is dead. The bullets were real. Spoletta reveals that he was in fact following Scarpia's orders which contained the coded message to shoot him "like we shot Count Palmieri". Distraught at Scarpia's betrayal, Tosca screams "And I cannot even kill him again!" At first Spoletta and Schiarrone think she has gone mad, but an officer arrives and confirms that Scarpia has been murdered. As Spoletta lunges towards her, Tosca climbs onto the castle parapets and throws herself off.

413: 616: 1069:. Tosca arrives to confront her lover about the fan Scarpia had shown her. Cavaradossi and Angelotti explain everything and she realizes with horror that she has been duped into leading Scarpia to them. On hearing the arrival of Scarpia and his men, Angelotti seeks refuge in the well. Scarpia demands to know where Angelotti is hidden. When Tosca and Cavardossi refuse to tell, Cavaradossi is taken off to be interrogated by the Procureur and tortured by Scarpia's assistant if he refuses to answer. Scarpia describes the torture device in great detail to Tosca, who is then made to listen to her lover's screams. Unable to bear it any longer, she reveals the hiding place, much to Cavaradossi's fury. Rather than be captured, Angelotti takes poison 272: 1035:. She reiterates her demand that Scarpia capture Angelotti and have him hanged. Scarpia must now find the fugitive's hiding place as quickly as possible. Hoping to provoke Tosca into leading him to Cavaradossi and Angelotti, he takes her aside and shows her the Marquise Attavanti's fan, intimating that she and Cavaradossi are lovers. Tosca is overcome with jealousy. As the cantata performance is about to begin, couriers arrive with a letter announcing that the French had been victorious at the Battle of Marengo after all. The Queen faints. Tosca throws the pages of her score into the air and rushes out with her maid. Scarpia orders his men to follow her carriage. 404:, had published a complete description of the plot on the morning of 24 November. (Following the premiere, Sardou brought a successful suit for damages against the paper.) At the end of the performance, Pierre Berton (Scarpia) came on stage for the customary presentation of the author to the audience. As he began his introduction, a large part of the audience interrupted him shouting, "Bernhardt, Bernhardt!" After three failed attempts, he went backstage and asked Bernhardt to come out. She refused to do so until Sardou had been introduced. Berton finally succeeded, after which Bernhardt appeared to thunderous applause and cries of "Vive Sarah!" 200: 1687: 1105: 995:

tells how she inspired his painting. Tosca arrives and Angelotti quickly returns to his hiding place. Tosca, who is dark-haired, becomes jealous when she sees Cavaradossi's painting of a blonde woman, but he reassures her of his love. After she departs, Cavaradossi and Angelotti quickly leave for Cavaradossi's country villa. Baron Scarpia and his police enter the church searching for Angelotti. Scarpia finds the fan left by the Marquise Attavanti and keeps it. Worshippers arrive for the

1135: 624: 1420: 1039: 918: 450: 1661: 1284: 191:. He then offers to spare her lover if Tosca will yield to his sexual advances. She appears to acquiesce, but as soon as Scarpia gives the order for the firing squad to use blanks, she stabs him to death. On discovering that Cavaradossi's execution had in fact been a real one, Tosca commits suicide by throwing herself from the castle's parapets. 488:, and was a favourite of Queen Maria Carolina. Determined to avoid a scandal, the Queen demanded that he be returned to Naples and hanged. He was languishing in Rome's Castel Sant'Angelo, when his sister Giulia, the Marquise Attavanti, helped him to escape. According to historian Susan Vandiver Nicassio, Angelotti was partly based on 599:, where he was known for his ruthless law enforcement. When Naples took control of Rome in 1799, he was appointed the city's Regent of Police, and quickly gained a reputation for the cruelty and licentiousness that lay beneath his seemingly courteous exterior. Angelotti characterises him as a religious hypocrite and an "impure 1706:

Unlike the play, Scarpia shows Tosca the Marquise Attavanti's fan in Act 1, where Puccini's librettists contrive to have her return to the church following the departure of Angelotti and Cavaradossi. In the opera, both Cavaradossi's interrogation and torture and Scarpia's subsequent murder take place

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The number of characters is sharply reduced in the opera, and the work shortened to three acts, leaving out much of the political motivations of the protagonists. In the opera, Angelotti and Cavaradossi already know each other. In the play, they had never met before, thus allowing considerable scope

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There is not much of play, a mere outline at best, made to fit like a glove the talent and personality of Bernhardt who is all and everything, but who should or could complain? The interest never slackens; there is enough dialogue and apropos to keep both gratification and amusement entertained, and

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Scarpia is eating supper in a room lit only by two candles and a candelabrum on his table. There is a prayer stool and a crucifix in an alcove near his bed. He orders Tosca, who has been locked in another room of the castle, to be brought to him. When she arrives, he tells her that Cavaradossi is to

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which Tosca will sing later that evening as part of the victory celebrations. Baron Scarpia arrives and there is further discussion of Angelotti's escape, cut short by the arrival of Tosca. Queen Marie Caroline enters for the performance of the cantata accompanied by Paisiello, Prince Diego Naselli,

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Early audiences (especially in the United States and Britain) sometimes balked at the realism in Sardou's play, especially Cavaradossi's screams while he is being tortured off-stage. In Puccini's version, his screams are likewise heard by the audience. However his death by firing squad is even more

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Following the London premiere in 1888, Cecil Howard wrote that the play was even more popular there than it had been in Paris. Like several critics describing the Paris premiere, he devoted a large part of his review to Bernhardt's performance, which he said held the audience "breathless and rapt",

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emerges from his hiding place in his family's chapel. His sister, the Marquise Attavanti, had visited the day before to leave him supplies and women's clothes to disguise himself, including a fan to hide his face. Cavaradossi recalls seeing a beautiful blond woman in the church the previous day and

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The "unchaste" behaviour of the heroine and the violence and brutality depicted in the play, although relatively mild by modern standards, disturbed not only critics at the time, but also some play-goers. The audience's reaction to Tosca's suicide at the American premiere caused Fanny Davenport to

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in the title role. Despite negative reviews from the Paris critics at the opening night, it became one of Sardou's most successful plays and was toured by Bernhardt throughout the world in the years following its premiere. The play itself had dropped from the standard theatrical repertoire by the

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out of the Roman States. As soon as he signs the document and starts to kiss her, she grabs a knife from the supper table and stabs Scarpia to death. Tosca removes the safe conduct from his hand and starts to leave, but then turns back. She places the two lighted candles on each side of Scarpia's

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awaiting her lover. Tosca finally says that she will agree to his terms, but only after she has proof that Cavaradossi will be spared. Scarpia calls in Spoletta and in front of Tosca instructs him to stage a mock execution by firing squad with blanks in the riflemen's guns. After Spoletta leaves,

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be hanged at dawn. He also tells her of his intense attraction to her and offers to spare Cavaradossi if she agrees to sleep with him. Tosca calls him a wild animal and repels his advances in disgust, which only serves to increase his desire. Scarpia then takes her to the window and shows her the

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in Rome. As soon as her engagement at the theatre was over, she and Cavaradossi planned to leave for Venice, where she had a contract to sing at La Fenice. Sardou took a long time to decide on her name and may have finally been influenced by Saint Tosca, who is particularly revered in Verona. The

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The Théâtre de la Porte Saint-Martin was packed for the opening night on 24 November 1887, although many in the audience already knew the ending before the curtain went up. While journalists were usually invited to dress-rehearsals, they were expected not to publish details of the play before the

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Writing from the perspective of the late 20th century, Nicassio agrees that Bernhardt's performance as a character essentially like herself, a celebrated, amorous, and temperamental diva, was undoubtedly a key factor in the play's success with the Paris audience. However, she cites other factors

603:" from whom no woman is safe. Before Scarpia set his sights on Floria Tosca, he had tried to force himself on Angelotti's sister, who fled from him in terror. According to Nicassio, Sardou may have chosen his name for its similarity to "Sciarpa", the nickname of Gherardo Curci, a bandit who led 522:

and lived in David's atelier during the French Revolution. When he visited Rome in 1800 to settle his father's estate, he met and fell in love with the celebrated opera singer Floria Tosca, and decided to prolong his stay. He soon gained a reputation as a free-thinker and Bonapartist. Even his

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Spoletta and his men awaken Cavaradossi in the chapel where he is being held to tell him that he has a visitor. Tosca arrives and rushes into her lover's arms. She begs his forgiveness for having revealed Angelotti's hiding place, and he in turn asks forgiveness for his anger at the time. She

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in the original French at New York's Garden Theater on 5 February 1891 and took the play to many other American cities, aways performing in French, even though on some occasions, the rest of the cast were performing in English. In Paris, she had revived the play in 1899 to inaugurate the

446:. Although their names and backgrounds contain historical allusions, the four main protagonists, Cesare Angelotti, Mario Cavaradossi, Floria Tosca, and Baron Scarpia are fictional. Their backgrounds are revealed in the conversations between Angelotti and Cavaradossi in Acts 1 and 3. 1736:" ("And the stars were shining"), in which he reflects on his past happiness with Tosca and his impending death. Other relatively minor changes include Puccini's addition of a singing shepherd boy as Cavaradossi awaits his execution and a change of the church in Act 1 from Sardou's 1707:

in the Farnese Palace. In the play, Cavaradossi's interrogation is set at his country house, where he was captured, while Scarpia's murder takes place at his apartment in the Castel Sant'Angelo. The news of the Austrian defeat at Marengo which formed the climax of Act 2 in

492:, who had briefly been a Consul of the Roman Republic, although the resemblance in terms of their life histories ends there. Another influence on the choice of surname may have been Nicola Antonio Angeletti (1791–1870), a prominent Italian revolutionary and member of the 1503:, likewise tried (unsuccessfully) to convince Sardou to accept a new ending, with Tosca going mad rather than committing suicide. The Sardou ending stayed, but Illica and Giacosa did make several significant changes to the play, primarily to tighten the action. 1605:, Tosca murders Scarpia in the "Cafe Romano allo Strando", stabbing him with a huge rolled-up restaurant bill and then places one of the dish covers over his face. Cavaradossi, instead, is executed by a phalanx of photographers. The show premiered at London's 1157:. She would continue to be closely associated with the play until well into the 20th century, touring it around the world from 1889, including performances in Egypt, Turkey, Australia and several countries in Latin America. It was during her 1905 tour to 352:

The period leading up to the premiere was not without problems. As had happened before, once word got out of a new Sardou play, another author would accuse him of plagiarism. In the 1882 caricature of Sardou (left), one of the signs on the wall states,

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explicit, occurring on stage in full view of the audience, rather than off stage as in the play. Tosca's final words before committing suicide in the play are addressed to Spoletta and his men. When he vows to send her to join her lover, she cries

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ever be produced. Sardou, in turn, issued a robust denial in the French papers. As the play neared its premiere, Bernhardt discovered to her fury that Sardou had sold the rights for the first American production of the play to the actress

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went to hear her and wanted her to go on stage. The monks opposed this, but after she was presented to the Pope, he too declared that she should become an opera singer. Four years later she made her debut in the title role of Paisiello's

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in the presence of Queen Maria Carolina, Act 2 of the play, was eliminated. The setting of Act 2 and the events of Acts 3 and 4 in the play were then combined into the second act of the opera, which involved several significant changes.

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comes from the unholy bargain the heroine makes to save her husband's life, similar to that of Tosca and Baron Scarpia. As Sardou pointed out in his affidavit, this plot device is a common one and had been notably used by Shakespeare in

315:, who played Baron Scarpia, had been Bernhardt's on and off lover for many years and a frequent stage partner. The elaborate sets for the production were made by a team of designers and painters who had worked with Sardou before: 438:, not Rome. Paisiello was a Neapolitan court composer, but at the time of the play he was under suspicion for anti-Royalist sympathies, making him a highly unlikely candidate for Maria Carolina's gathering in Act 2. According to 1674:

to explain their histories and backgrounds to each other. The roles of Tosca's maid and Cavaradossi's two servants were eliminated as were most of the characters in Act 2, although some of them such as the Marquis Attavanti and

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contained scenes which were "not only shocking to the nervous system and grossly offensive to persons of true sensibility, but which might inflict irreparable injury on persons yet unborn." Several early critics, including

385:, the director of the Théâtre de la Porte Saint-Martin. Nevertheless, he said he would "graciously permit" Sardou's play to go ahead, and had brought up the issue solely to avoid being accused of plagiarism should 1161:

that she injured her leg jumping from the parapets in the final scene. The wound never healed properly and ultimately led to amputation of her leg ten years later. Bernhardt gave the first American performance of

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Cavaradossi tells Angelotti of a chamber in an ancient Roman well on the property where he can hide until he makes his escape. It had been used by one of Cavaradossi's ancestors when he fled Rome after stabbing a

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had an opening run in Paris of 200 performances. Sarah Bernhardt, along with the original Cavaradossi (Camille Dumény) and Baron Scarpia (Pierre Berton), then starred in the London premiere in July 1888 at the

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does not emerge in the opera until after Cavaradossi has been captured and tortured. Thus Scarpia is able to listen to Tosca's uninterrupted performance of the cantata (heard in a distant room of the palace).

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change the ending in subsequent performances with the firing squad taking aim at Tosca while she grieves over Cavaradossi's lifeless body, an ending also used by Sarah Bernhardt when she performed the play in

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correspondent reported the play's resounding success with the audience, but like many commentators of the day, including Favre, largely attributed it to Sarah Bernhardt's powerful performance, noting that:

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Girardi (2000) p. 9. This group of designers, working in various combinations, created the sets for most of the major opera, ballet, and drama productions in Paris in the second half of the 19th century.

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read out in court Bernhardt said that she had never seen the play and knew nothing about it, and Sardou said that preliminary material for the play had been in his desk for fifteen years. In fact,

986:) discuss Cavaradossi's relationship with Tosca, his Republican and Bonapartist sympathies, and the apparent defeat of the French army at Marengo. Cavaradossi arrives to work on his painting of 965:. Although out-numbered, the French were ultimately victorious, despite early reports to the contrary. News of the surprise victory reached Rome on 17 June, the time setting for the play. 1350:

As to the play itself, I will only add that it is offensive in its morals, corrupt in its teaching, and revolting in its brutality, and yet everyone who admires acting is bound to see it.

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Nicassio (1999) pp. 2–6 and 169. The synopsis is based on Sardou (1887) in the 2004 English translation by Deborah Burton. All quotes in the synopsis are from the Burton translation.

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The characterizations of the four protagonists are based on Sardou (1887) Acts 1 and 3 in the 2004 English translation by Deborah Burton. All quotes are from the Burton translation.

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earlier that month, their apparent defeat at Marengo, and the disappearance of Angelotti and Cavaradossi. Princesse Orlonia and other ladies of the court join them. All discuss the

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took her in and educated her. The convent organist gave her singing lessons, and by the time she was sixteen, her church performances had made her a local celebrity. The composer

434:. However, their treatment in the play is not always historically accurate. On the day the play takes place, Queen Maria Carolina was actually on her way to Austria and staying in 3268: 1228:. Davenport herself was in the courtroom on 27 April 1888 when the judge found in her favour. Following the New York run, she toured the play throughout the US with her company. 2590: 2460: 1395:

proved to be phenomenally successful. It ultimately had 3000 performances in France alone, played in theatres all over the world for thirty years, and netted Sardou 500,000

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sympathiser; and Baron Scarpia, Rome's ruthless Regent of Police. By the end of the play, all three are dead. Scarpia arrests Cavaradossi and sentences him to death in the

1388:, which he saw in London in 1890, as a "clumsily constructed, empty-headed turnip ghost of a cheap shocker", while presciently suggesting that it would make a good opera. 1463:

with Sardou himself taking charge of the rehearsals. Unlike Sardou's play, Puccini's opera has achieved an enduring popularity. More than 100 years after its premiere,

1252: 323:, Marcel Jambon, Enrico Robecchi, Alfred Lemeunier, and Amable Petit. The costumes were designed by Théophile Thomas, who also designed Sarah Bernhardt's costumes for 1609:

in January 1890 and ran for 45 performances, with the critic Cecil Howard pronouncing it one of Burnand's finest efforts. Burnand had previously parodied Sardou's

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At the gambling tables, Vicomte de Trévilhac, Capréola, Trevulce and the Marquis Attavanti (all supporters of the Kingdom of Naples), discuss the French defeat at

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for free. Nicassio has speculated that one of the influences on Sardou's choice of name was the extremely similar name Caravadossi, a noble Italian family from

484:. In those days she had been a prostitute going by the name of Emma Lyon, but by the time of the play she had become the wife of the British Envoy to Naples, 2927: 953:, supported by the British and Austrians. However, the fighting continued elsewhere in Italy. The French troops had been defeated by the Austrians at the 663: 2528: 1645:), based largely on the structure of Puccini's opera, but with elements from Sardou's play. The setting was updated to modern times with costumes by 260:(1898). He was known for the historical research which he used to inform his plays and had a private research library of over 80,000 books including 1467:

ranks sixth in the list of most frequently performed operas worldwide, and has over 100 commercial recordings as well as several film versions (see

480:. He is a wanted man, not only for his revolutionary activities but also for a youthful dalliance in London, where he had an eight-day liaison with 1256: 1582:

originally worked with Koch on the adaptation, but had to leave Italy at the outbreak of World War II. The film was released in the US in 1947 as

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is descended from an old Roman family, but was born in France, where his father had lived most of his life. The family still had a palazzo on the

1263:). After the mid-1920s, revivals of the play became increasingly sporadic. It was performed in Canada by La Comédie de Montréal in 1941 starring 1403:

dresses back into style, and the long walking stick she carried in Act 1 became a new fashion accessory. Both a leopard in a famous New York

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and an American race horse were named in honour of the play's heroine, as were numerous dishes, several of them created by the French chef,

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for 100,0000 francs, before it had even premiered in Paris. As had happened at the Paris premiere, a charge of plagiarism was soon brought.

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Tosca remained in Davenport's repertoire until the end of her career. After her death in 1898, her husband continued to tour the play with

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s critical reception was in sharp contrast to that of the opening night audience. The Parisian critics roundly attacked the play with

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Favre (4 December 1887) p. 361. Quote in the original French: "...cette pièce vulgaire, sans intrigue, sans caractères, sans moeurs."

3065: 3447: 1073:. Scarpia orders his men to take Cavaradossi to the Castel Sant'Angelo for execution and orders Tosca to be brought there as well. 949:, and its subsequent fall in 1799 when the French withdrew from Rome. Following the French withdrawal, Rome was controlled by the 381:) and whose heroine (like Tosca) is a celebrated opera singer. He also claimed that he had read the play to Sarah Bernhardt and 2601: 1534:

adaptations. A hand-coloured version starring Sarah Bernhardt was made in 1906 by Le Film d'Art, a French film company run by

1209:. According to Barrymore, he had given a copy of his play to Sarah Bernhardt in 1885, and she had then given it to Sardou. In 1171:

where it ran for 57 nights and starred in another major Parisian revival in 1909, six months to the day after Sardou's death.

2606:, Catalogue of the exhibition held at the Museo Nazionale di Villa Guinigi, Lucca, 2–27 February 2000. Retrieved 9 July 2010. 294: 139: 78: 3031: 2476: 539:, and at several points in its history under Italian control. One of the Caravadossi descendants fought in the 19th century 2847: 2840: 2830: 2800: 2705: 2736: 2569: 3482: 2626: 1235:

in the title role. Other prominent actresses who portrayed Floria Tosca in the play's heyday were the British actresses

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Tosca's Act 1 costume designed by Hohenstein for the opera's premiere and virtually identical to Bernhardt's original.

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told her it marked him as a revolutionary. To deflect these suspicions, he offered to do a painting in the church of

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Some plot descriptions and early reviews say that Tosca throws herself from the Castel Sant'Angelo into the river

1562:. Later films tended to be adaptations of Puccini's opera rather than Sardou's play with the notable exception of 1185:, as Cavaradossi. The "Davenport Tosca" opened in New York City on 3 March 1888 and inaugurated the luxurious new 3462: 2876: 2866: 469: 293:. She was in her mid-40s by then and France's leading actress. In 1883, she had also taken over the lease on the 271: 1455:

in the title role and went on to successful premieres in London, New York, and Paris. The Paris premiere at the

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was to premiere. It was the third play Sardou had written specifically for her. Both their first collaboration,

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Adams (1891) pp. 172–173 (contains the lyrics for one of the songs from the show, "I am the Bad Baron Scarpia")

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Howard (1891) pp. 6–8 (contains a detailed description of the show). See also Stape and Simmons (2007) p. 108

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Richards (2007) p. 172. The equivalent of 500,000 French francs in 1900 was over 1 million US dollars in 2006

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themes, and a plot glorifying the Bonapartists as the 100th anniversary of the French Revolution approached.

946: 690: 477: 369:) made the accusation, claiming that four years earlier, he and Gilbert-Augustin Thierry had written a play, 2562: 2423: 1986:. However, this is physically impossible given the castle's location. Sardou's stage directions simply say: 3442: 2430: 2446: 1510:

had been adapted into an English novel by Arthur D. Hall in 1888, and had two adaptations for traditional

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in 1958, but by then the play itself had completely disappeared from the standard theatrical repertoire.

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See Walkley (1892/2009) pp. 86–91; Lemaître (28 November 1887) pp. 136–148; and Mason (1906/2008) p. 441

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in Rome and once owned the country villa which Cavaradossi now rents. His father had strong ties with

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The chapel at the Castel Sant'Angelo and a platform on the roof of the castle at dawn on 18 June 1800

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plot centers on Floria Tosca, a celebrated opera singer; her lover, Mario Cavaradossi, an artist and

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which also played a part: the "exotic" Italian setting with sumptuous sets and costumes, the play's

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had its US premiere within four months of its Paris opening, performed in English translation with

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as Tosca, and released it in 1908. The Bernhardt version re-surfaced and was released in 1912 by

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s of Sardou and Puccini" in Deborah Burton, Susan Vandiver Nicassio, and Agostino Ziino (eds.),

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on 41st Street. Davenport had previously bought the rights to the American premiere of Sardou's

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chapel incorporates a shallow chamber separated from the main part of the chapel by a grille.

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was described as "stagey and old-fashioned" in contrast to the naturalness of Sarah Bernhardt.

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fighting on behalf of the monarchy in Naples and was made a baron by Ferdinand IV in 1800.

179:. The action takes place over an eighteen-hour period, ending at dawn on 18 June 1800. Its 1660: 8: 3437: 3239: 3100: 2523: 2467: 2450: 2400: 1912: 1733: 1602: 1381: 1283: 1236: 1224: 1182: 1109: 519: 162: 1452: 686: 473: 394:

and threatened to walk out. Bernhardt was eventually pacified and rehearsals continued.

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called it a "vulgar piece, without intrigue, without characters, without morals". The

449: 382: 3225: 3219: 3194: 3125: 3095: 3071: 3055: 3039: 3021: 3005: 2985: 2940: 2900: 2888: 2853: 2753:"The Meijin Kurabe of Sanyutei Encho: An Original Approach to Western Drama in Japan" 2742: 2711: 2695: 2679: 2632: 2575: 2552: 2513: 2497: 2436: 1722:("I am going, scoundrels!"). In the opera, her final words are addressed to Scarpia: 1690: 1571: 1559: 1555: 1468: 1419: 1408: 1400: 1380:, who found the torture scene moving in its depiction of "a terrible human tragedy". 1356: 1306: 1198: 962: 950: 558: 489: 443: 374: 320: 221: 176: 131: 89: 1373: 1314: 1193:, and had made a fortune from it. She bought the rights to the American premiere of 794: 553:, where she had been found as a child, roaming the hillsides and herding sheep. The 37: 3331: 3307: 3284: 3154: 2910: 2763: 2191: 1888:

See Deborah Burton's notes to the English translation of Sardou (1887) Act 2, p. 24

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Renegades, Showmen & Angels: A Theatrical History of Fort Worth from 1873–2001

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body and puts the crucifix on his chest before quietly slipping out of the room.

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Camille Dumény as Mario Cavaradossi, complete with his "revolutionary's mustache"

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as Tosca. Only fragments remain of the Italian film made the same year starring

1543: 3374: 2966: 2954: 2775: 2617: 1919:, University of Chicago Press, based on Nicassio (1999). Retrieved 3 July 2010. 1694: 1679: 1646: 1575: 1514:, both performed in 1891. In the Japanese adaptations, the famed story-teller, 1484: 1476: 1333:

the story enobles itself magically in the hands of the greatest living actress.

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into an opera, although Verdi thought the ending had to be changed. Puccini's

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who toured the play in Australia and New Zealand; and the Italian actresses,

1232: 987: 511: 481: 342: 2994:

Schickling, Dieter, "Fictional Reality: Musical and Literary Imagery in the

1597:

and the composer Florian Pascal wrote a musical parody of the play entitled

1384:

intensely disliked all of Sardou's work, and not surprisingly characterised

442:, another minor character, Princesse Orlonia, is probably based on Princess 3390: 1496: 1460: 1396: 1244: 1097: 564: 540: 2821:"Miss Davenport Wins; Barrymore's claim to 'La Tosca' Decided Against Him" 1301:

Considered by Jerome Hart to be the most emotional of all Sardou's plays,

3408: 2585: 2207: 1630: 1579: 1531: 1377: 1070: 957:

on 4 June 1800. Then on 14 June 1800, three days before the play begins,

809: 623: 324: 121: 2195: 1668: 169:(all of which premiered in the 1890s) as well as several film versions. 3017:

Dressed for the Photographer: Ordinary Americans and Fashion, 1840–1900

2982:

Highbrow/Lowdown: Theater, Jazz, and the Making of the New Middle Class

2186:(15 October 1894) p. 2 and (5 June 1891) p. 3; James (2006) p. 144 and 1475:

in Italy when Bernhardt toured the play there and asked his publisher,

1744:. The latter actually has a potential hiding place for Angelotti. Its 1038: 917: 585:

8th-century church dedicated to her there is one of the oldest in the

1745: 1729: 1404: 1310: 1210: 1032: 983: 715: 573: 536: 524: 493: 232:, six of his other plays were set against the events of those times: 180: 3315: 303: 3347: 3253: 3110:

of the opera in the original Italian and in English translation by

3107: 2883: 2402:

A Book of Burlesque, Sketches of English Stage Travestie and Parody

2370: 1492: 958: 569: 329: 217: 184: 175:

is set in Rome on 17 June 1800 following the French victory in the

2759:, XXIX/No. 2, January 2002, pp. 14–16. Retrieved 9 July 2010. 580:

to great acclaim. When Cavaradossi met her she was singing at the

472:

was returned as ruler, he fled to Rome where he became one of the

3382: 2869:, Issue 1880, 2 December 1887, p. 28. Retrieved 9 July 2010. 1092: 1023: 997: 507: 435: 220:'s army in Italy, and Sardou retained a lifelong interest in the 2879:, Issue 1885, 6 January 1888, p. 28. Retrieved 9 July 2010. 2529:"La Tosca visionaria e disperata di Dalla arriva al Gran Teatro" 1728:("O Scarpia, before God!"). The opera also gives Cavaradossi a 430:; Prince Diego Naselli, the Governor of Rome; and the composer, 2643:"Roll Over, Puccini: 'Tosca' Has Been Pumped Up and Plugged In" 2461:"Pauline Frederick in "La Tosca" Feature at the Strand Theater" 2203: 1527: 1427: 1293:(21 July 1888) where his performance in the London premiere of 1066: 596: 586: 550: 461: 2849:

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

2410:"Guerilla Cinematheque Comes of Age: The Pacific Film Archive" 1599:

Tra-la-la Tosca or The High-Toned Soprano and the Villain Bass

3213: 3038:

in Stape and Simmons (eds.), Rodopi, 2007, pp. 106–116.

1983: 1955:

Nicassio (1999) pp. 118–119. See also Burton (1993) pp. 67–86

1699: 1447: 1247:

who was still playing the role in 1920; the American actress

1096:

Tosca demands that Scarpia also give her a document granting

1001:

which has been ordered to give thanks for the French defeat.

600: 514:, and his mother was a grand-niece of the French philosopher 153: 124: 2801:"Bernhardt as La Tosca Complete Success of Her Reappearance" 2691:

Sarah Bernhardt: Reine de l'attitude et princesse des gestes

532: 365:("Author's rights"). This time Ernest Daudet (a brother of 1518:, set the work during the period of the 1837 rebellion by 3054:(originally published in 1892), BiblioBazaar, LLC, 2009. 1654: 3001:

Tosca's Prism: Three Moments of Western Cultural History

1653:

continues to be performed in Italy and was broadcast on

1086:

in the hours of darkness before the dawn of 18 June 1800

1060:

Cavaradossi's country villa on the night of 17 June 1800

619:

Sarah Bernhardt as Floria Tosca in her costume for Act 1

3147: 2565:, Les Annales politiques et littéraires 4 December 1887 2512:(originally published in 1902), Ayer Publishing, 1980. 2038:(28 April 1888) p. 8. For a description of Barrymore's 2793:, 18 September 1887, p. 1. Retrieved 9 July 2010. 1108:

The Castel Sant'Angelo depicted in the early 1800s by

2892:, Vol. 122, No. 1665, November 1981, pp. 743–745 2783:, 13 February 1884, p. 4. Retrieved 9 July 2010. 2771:, 28 February 1941, p. 3. Retrieved 9 July 2010. 1669:

Differences between Sardou's play and Puccini's opera

982:

Gennarino (Cavaradossi's manservant) and Eusèbe (the

2843:, 15 October 1894, p. 2. Retrieved 9 July 2010. 754:

gentleman companion to the Marquise Giulia Attavanti

138:. It was first performed on 24 November 1887 at the 1042:Tosca places candles by Scarpia's body in Act 4 of 2939:, Continuum International Publishing Group, 2007. 2823:, 28 April 1888, p. 8. Retrieved 9 July 2010. 2741:(originally published in 1906), Read Books, 2008. 2678:, Continuum International Publishing Group, 2006. 2435:(originally published in 1923), Read Books, 2008. 2334:Durgnat (1974) p. 213; Crowther (19 December 1947) 1678:are alluded to in the opera. The gathering at the 1031:courtiers, musicians, Austrian army officers, and 704:Neapolitan courtier and Angelotti's brother-in-law 373:, which takes place in Paris on the day after the 2936:Sir Henry Irving: A Victorian Actor and His World 2928:"What the Ladies are Wearing for Fall and Winter" 2813:, 4 March 1888, p. 5. Retrieved 9 July 2010. 2728:, 28 November 1887, collected in Jules Lemaître, 1459:in 1903 was performed in a French translation by 1346:but he had little admiration for Sardou's drama: 1287:Pierre Berton as Baron Scarpia in a cartoon from 3429: 2833:, 5 June 1891, p. 3. Retrieved 9 July 2010. 2463:, 27 May 1918, p. 3. Retrieved 9 July 2010. 1451:which premiered in Rome on 14 January 1900 with 1426:, who played Baron Scampia Scarpia, in the 1890 1589:Shortly after the first London performances of 2791:"Reflections on Sardou's Honesty as an Author" 2660:, Vol. XIL, July–December 1888, pp. 97–98 1964:Original cast members taken from Sardou (1887) 1239:who performed the role in English at London's 3269: 3133: 2726:, drame en cinq actes de M. Victorien Sardou" 1723: 264:'s etchings of late 18th century Rome, where 2953:, 1887, in annotated English translation by 2447:"Sardou and Sardoodledom, Puccini and Tosca" 1987: 1717: 961:'s troops fought the Austrian forces at the 856:the caretaker at Cavaradossi's country villa 360: 354: 216:'s grandfather had served as a surgeon with 1363:went so far as to warn American women that 3276: 3262: 3140: 3126: 3094:– Complete play in the original French on 2732:(2e série), Société française d'imprimerie 2542:, 19 December 1947. Retrieved 9 July 2010. 2531:, 11 December 2009. Retrieved 9 July 2010. 2477:"The Real Scarpia: Historical Sources for 194: 36: 2466:Berton, Thérèse Meilhan and Woon, Basil, 2414:Chronicle of the University of California 1992:("She throws herself into the emptiness") 468:. When it fell to the British forces and 398:premiere. However, the Parisian journal, 2666:Dramatic Notes: A Yearbook of the Stage 2551:, University of California Press, 1974. 2154: 2009: 2007: 1697:in the premiere production of Puccini's 1685: 1659: 1418: 1282: 1133: 1103: 1037: 978:in Rome on the afternoon of 17 June 1800 916: 622: 614: 518:. Cavaradossi studied art in Paris with 448: 411: 270: 198: 147:mid-1920s, but its operatic adaptation, 3004:, Northeastern University Press, 2004. 2899:, Northeastern University Press, 2002. 1791:Berton and Woon (1923) pp. 101–104 and 1487:had both expressed interest in turning 3430: 3030:Stape, John Henry and Simmons, Allan, 2984:, University of Michigan Press, 2009. 2918:, Vol. XCIV, 21 July 1888, p. 28. 2034:The account of the court case is from 1907: 1905: 1903: 1129: 3257: 3121: 3020:, Kent State University Press, 1995. 2852:, University of Chicago Press, 1999. 2649:, 31 May 2004. Retrieved 9 July 2010. 2597:, 3 June 2010. Retrieved 9 July 2010. 2506:Clapp, John B. and Edgett, Edwin F., 2487:, Vol. 10, No. 2, 1993 pp. 67–86 2210:Tosca, and Saddle of veal à la Tosca. 2004: 1864: 1399:. Sarah Bernhardt's costumes brought 1319:Les Annales politiques et littéraires 941:is set against the background of the 933: 903:Procureur fiscal (public prosecutor) 867:Prince of Aragon and Governor of Rome 3283: 3032:"Tosca's Kiss: Sardou, Puccini, and 2496:, Cambridge University Press, 1985. 2295:Mastrangelo (January 2002) pp. 14–16 1267:, and an English version adapted by 311:(1884), had been highly successful. 2722:"Théâtre de la Porte Saint-Martin: 2613:, Rand, McNally & Company, 1888 2574:, Opera Journeys Publishing, 2005. 2385:" can also be translated as "scum". 1900: 1870:Clapp and Edgett (1902/1980) p. 272 1773:Perusse (November 1981) pp. 743–745 1550:. There was also a 1918 version by 1181:in the title role and her husband, 13: 2198:Tosca can be found in Escoffier's 2076:Hart (1913) p. 97; Lemaître p. 148 1913:"Ten Things You Didn't Know about 1879:Schlickling (2004) pp. 124 and 130 1391:Despite the views of the critics, 921:Tosca and Cavaradossi in Act 1 of 377:(roughly the same time-setting as 14: 3494: 3082: 2769:"French Company Give Sardou Play" 359:("Ideas of others") and another, 834:a lady at Marie Caroline's court 610: 464:and defender of the short-lived 460:had been a wealthy landowner in 295:Théâtre de la Porte Saint-Martin 140:Théâtre de la Porte Saint-Martin 79:Théâtre de la Porte Saint-Martin 3448:French plays adapted into films 2757:The Japan Foundation Newsletter 2416:, Spring 2004, pp. 147–159 2375: 2355: 2346: 2337: 2328: 2319: 2307: 2298: 2289: 2280: 2271: 2262: 2253: 2231: 2222: 2213: 2176: 2163: 2145: 2136: 2127: 2118: 2109: 2100: 2088: 2079: 2070: 2061: 2049: 2028: 2016: 1995: 1976: 1967: 1958: 1949: 1940: 1931: 1928:Nicassio (1999) pp. 35 and 102f 1922: 1891: 1882: 1873: 1851: 2453:, 2009. Retrieved 9 July 2010. 2124:Quoted in Savran (2009) p. 229 1839: 1827: 1815: 1806: 1797: 1785: 1776: 1767: 1758: 1437:The most famous adaptation of 1414: 1014:on the evening of 17 June 1800 627:Pierre Berton as Baron Scarpia 523:mustache was suspect. Tosca's 1: 2951:La Tosca, drame en cinq actes 2803:, 12 December 1887, p. 2 2469:Sarah Bernhardt as I knew her 2106:Nicassio (1999) pp. 13 and 15 1751: 1625:(1885), both of which ran at 426:are real historical figures: 407: 2675:Escoffier: The King of Chefs 2669:, Hutchinson & Co., 1891 2472:, Hurst & Blackett, 1923 2361:See Horowitz (31 May 2004); 1989:"Elle se lance dans le Vide" 1278: 1201:claimed that his 1884 play, 1082:Scarpia's apartments in the 732:a French aristocrat in exile 541:Italian Wars of Independence 7: 3067:Merely Players: The Scripts 2738:Bibliography of Oscar Wilde 2619:Sardou and the Sardou Plays 2277:Nicassio (1999) pp. 272–274 2259:Phillips-Matz, pp. 106–107. 1530:. There were at least four 945:, the establishment of the 912: 659:an artist and Tosca's lover 476:of the equally short lived 280:Sarah Bernhardt as La Tosca 206:in an 1882 caricature from 10: 3499: 3483:Napoleonic Wars in fiction 2895:Phillips-Matz, Mary Jane, 2846:Nicassio, Susan Vandiver, 2399:Adams, William Davenport, 2392: 2067:Punch (21 July 1888) p. 28 1725:"O Scarpia, avanti a Dio!" 1411:, a devotee of Bernhardt. 1183:Willet Melbourne MacDowell 422:Three minor characters in 307:(1882), and their second, 18: 3458:Plays by Victorien Sardou 3453:Plays adapted into operas 3401: 3366: 3356:The Affair of the Poisons 3291: 3205: 3162: 3048:Walkley, Arthur Bingham, 2831:"La Tosca Makes a Record" 2420:(Les) Archives théâtrales 2371:www.toscamoredisperato.it 2200:A Guide to Modern Cookery 2194:of salmon à la Tosca and 1937:Nicassio (1999) pp. 67–69 1911:Susan Vandiver Nicassio, 1657:television in June 2010. 1317:. Jules Favre writing in 943:French Revolutionary Wars 646:a celebrated opera singer 226:French Revolutionary Wars 105: 95: 85: 74: 66: 56: 35: 30: 21:La Tosca (disambiguation) 2977:. Retrieved 9 July 2010. 2811:"The New Theatre Opened" 2781:"Modjeska in a New Play" 2600:Girardi, Michele (ed.), 2202:. Other dishes included 2046:(13 February 1884) p. 4. 1824:(18 September 1887) p. 1 1738:Sant'Andrea al Quirinale 1253:Teresa Boetti Valvassura 1145:in its American premiere 1141:in costume for Act 1 of 1115: 1076: 1054: 1004: 976:Sant'Andrea al Quirinale 968: 803:Cavaradossi's manservant 720:Sant'Andrea al Quirinale 670:Baron Vitellio Scarpia, 529:Sant'Andrea al Quirinale 16:Play by Victorien Sardou 3114:at the Internet Archive 3112:William Beatty-Kingston 2841:"La Tosca Has Two Cubs" 2631:, Pan Macmillan, 2003. 2405:, Henry & Co., 1891 2115:Howard (1888) pp. 97–98 2097:(12 December 1987) p. 2 2058:(28 February 1941) p. 3 1946:Burton (1993) pp. 67–86 1859:Les Archives théâtrales 1836:(2 December 1887) p. 28 1742:Sant'Andrea della Valle 1169:Théâtre Sarah Bernhardt 1010:A large chamber in the 769:Prosper Étienne Bouyer 765:Captain of the riflemen 672:Rome's Regent of Police 568:and went on to sing at 276:Pinckney Marcius-Simons 195:Background and premiere 3463:Plays set in the 1800s 3051:Play House Impressions 2751:Mastrangelo, Matilde, 2730:Impressions de théâtre 2622:, J.B.Lippincott, 1913 2616:Hart, Jerome Alfred, 2493:Giacomo Puccini, Tosca 2457:Berkeley Daily Gazette 2325:Amazonas (2004) p. 154 2314:Berkeley Daily Gazette 2169:Severa (1995) p. 375; 2142:Quoted in Baker (2009) 1988: 1861:(December 1887) p. 346 1848:(6 January 1888) p. 28 1764:Richards (2007) p. 172 1724: 1719:"J'y vais, canailles!" 1718: 1703: 1693:'s set design for the 1665: 1651:Tosca, Amore Disperato 1639:Tosca, Amore Disperato 1434: 1370:Arthur Bingham Walkley 1352: 1335: 1298: 1217:s only resemblance to 1146: 1112: 1051: 930: 730:Vicomte de Trévilhac, 628: 620: 593:Baron Vitellio Scarpia 454: 419: 361: 355: 282: 210: 2593:Tosca amore disperato 1812:Joannis (2000) p. 119 1782:Hochman (1984) p. 312 1689: 1663: 1643:Tosca, Desperate Love 1566:'s 1941 Italian film 1526:adapted the play for 1422: 1348: 1330: 1286: 1271:was broadcast on the 1137: 1107: 1071:concealed in his ring 1041: 920: 626: 618: 452: 415: 274: 202: 3415:The Incredible Sarah 2897:Puccini: A Biography 2884:"Tosca and Piranesi" 2688:Joannis, Claudette, 2603:Tosca 1800 1900 2000 2563:"Causerie Théâtrale" 2509:Plays of the Present 2365:(11 December 2009); 2206:Tosca, Tosca Punch, 1857:Hart (1913) p. 121; 1676:Queen Maria Carolina 1633:composed an Italian 1629:in London. In 2004, 1471:). Puccini had seen 1249:Cora Urquhart Potter 1048:Le Théâtre illustrée 927:Le Théâtre illustrée 819:Reine Marie Caroline 535:, the birthplace of 428:Queen Maria Carolina 417:Queen Maria Carolina 19:For other uses, see 3443:Fiction set in 1800 3240:E lucevan le stelle 3070:, iUniverse, 2003. 2949:Sardou, Victorien, 2933:Richards, Jeffrey, 2710:, TCU Press, 2006. 2628:Seven Ages of Paris 2524:Corriere della Sera 2485:The Opera Quarterly 2451:San Francisco Opera 2449:, Programme Notes, 2369:(3 June 2010); and 2363:Corriere della Sera 2268:Carner (1985) p. 14 2228:Fisher (2005) p. 23 2219:Carner (1985) p. 12 2151:Fisher (2005) p. 21 2025:(4 March 1888) p. 5 2001:Horne (2003) p. 339 1734:E lucevan le stelle 1732:in the final act, " 1382:George Bernard Shaw 1237:Fanny Bernard-Beere 1225:Measure for Measure 1130:Performance history 1110:Sylvester Shchedrin 832:Princesse Orlonia, 702:Marquis Attavanti, 657:Mario Cavaradossi, 520:Jacques-Louis David 466:Neapolitan Republic 317:Auguste Alfred Rubé 3468:Plays set in Italy 3089:Victorien Sardou: 2930:, 11 November 1888 2882:Perusse, Lyle F., 2877:"Notes by Pasquin" 2867:"Notes by Pasquin" 2595:Stasera su Raiuno" 2534:Crowther, Bosley, 2316:(27 May 1918) p. 3 2304:Wynn (2003) p. 193 2239:"Opera Statistics" 2173:(11 November 1888) 2013:Jones (2006) p. 70 1704: 1666: 1584:The Story of Tosca 1552:Paramount Pictures 1548:Universal Pictures 1524:Fukuchi Gen'ichirō 1481:Alberto Franchetti 1435: 1299: 1147: 1113: 1084:Castel Sant'Angelo 1052: 992:Castel Sant'Angelo 934:Historical context 931: 790:the court composer 683:Cesare Angelotti, 629: 621: 549:is an orphan from 455: 432:Giovanni Paisiello 420: 356:"Idées des autres" 283: 211: 189:Castel Sant'Angelo 109:Rome, 17 June 1800 3473:Plays set in Rome 3425: 3424: 3251: 3250: 3226:Recondita armonia 3220:Tosca discography 3101:Giacomo Puccini: 3096:Project Gutenberg 3014:Severa, Joan L., 2889:The Musical Times 2720:Lemaître, Jules, 2641:Horowitz, Jason, 2625:Horne, Alistair, 2611:La Tosca: A novel 2609:Hall, Arthur D., 2545:Durgnat, Raymond 2475:Burton, Deborah, 1603:burlesque version 1572:Imperio Argentina 1560:Francesca Bertini 1556:Pauline Frederick 1469:Tosca discography 1445:'s Italian opera 1409:Auguste Escoffier 1401:Empire silhouette 1357:Fort Worth, Texas 1307:Francisque Sarcey 1199:Maurice Barrymore 963:Battle of Marengo 951:Kingdom of Naples 910: 909: 886:Scarpia's servant 876:Huissier (usher) 639:24 November 1887 559:Domenico Cimarosa 555:Benedictine monks 500:Mario Cavaradossi 490:Liborio Angelucci 375:Battle of Marengo 321:Philippe Chaperon 289:specifically for 238:Les Merveilleuses 228:. In addition to 222:French Revolution 177:Battle of Marengo 113: 112: 86:Original language 51:in the title role 3490: 3340:Madame Sans-Gêne 3285:Victorien Sardou 3278: 3271: 3264: 3255: 3254: 3155:Victorien Sardou 3142: 3135: 3128: 3119: 3118: 3034:The Secret Agent 2916:"Sarah La Tosca" 2764:Montreal Gazette 2672:James, Kenneth, 2568:Fisher, Burton, 2429:Arthur, George, 2386: 2379: 2373: 2359: 2353: 2350: 2344: 2341: 2335: 2332: 2326: 2323: 2317: 2311: 2305: 2302: 2296: 2293: 2287: 2284: 2278: 2275: 2269: 2266: 2260: 2257: 2251: 2250: 2248: 2246: 2235: 2229: 2226: 2220: 2217: 2211: 2180: 2174: 2167: 2161: 2158: 2152: 2149: 2143: 2140: 2134: 2131: 2125: 2122: 2116: 2113: 2107: 2104: 2098: 2092: 2086: 2083: 2077: 2074: 2068: 2065: 2059: 2056:Montreal Gazette 2053: 2047: 2032: 2026: 2020: 2014: 2011: 2002: 1999: 1993: 1991: 1980: 1974: 1971: 1965: 1962: 1956: 1953: 1947: 1944: 1938: 1935: 1929: 1926: 1920: 1909: 1898: 1895: 1889: 1886: 1880: 1877: 1871: 1868: 1862: 1855: 1849: 1843: 1837: 1831: 1825: 1819: 1813: 1810: 1804: 1801: 1795: 1789: 1783: 1780: 1774: 1771: 1765: 1762: 1727: 1721: 1578:as Cavaradossi. 1540:Charles le Bargy 1520:Ōshio Heihachirō 1512:Japanese theatre 1501:Giuseppe Giacosa 1453:Hariclea Darclée 1273:BBC Home Service 1187:Broadway Theatre 807:Suzanne Seylor ( 631: 630: 605:irregular troops 582:Teatro Argentina 578:Teatro San Carlo 504:Piazza di Spagna 486:William Hamilton 458:Cesare Angelotti 364: 358: 249:Madame Sans-Gêne 214:Victorien Sardou 208:Le Trombinoscope 159:Japanese theatre 136:Victorien Sardou 100:Historical drama 70:24 November 1887 61:Victorien Sardou 40: 28: 27: 3498: 3497: 3493: 3492: 3491: 3489: 3488: 3487: 3478:Sarah Bernhardt 3428: 3427: 3426: 3421: 3397: 3362: 3300:The Black Pearl 3287: 3282: 3252: 3247: 3201: 3158: 3146: 3085: 3080: 2980:Savran, David, 2735:Mason, Stuart, 2694:, Payot, 2000. 2663:Howard, Cecil, 2652:Howard, Cecil, 2571:Puccini's Tosca 2490:Carner, Mosco, 2432:Sarah Bernhardt 2395: 2390: 2389: 2380: 2376: 2360: 2356: 2351: 2347: 2342: 2338: 2333: 2329: 2324: 2320: 2312: 2308: 2303: 2299: 2294: 2290: 2285: 2281: 2276: 2272: 2267: 2263: 2258: 2254: 2244: 2242: 2237: 2236: 2232: 2227: 2223: 2218: 2214: 2181: 2177: 2168: 2164: 2159: 2155: 2150: 2146: 2141: 2137: 2132: 2128: 2123: 2119: 2114: 2110: 2105: 2101: 2093: 2089: 2084: 2080: 2075: 2071: 2066: 2062: 2054: 2050: 2033: 2029: 2021: 2017: 2012: 2005: 2000: 1996: 1981: 1977: 1972: 1968: 1963: 1959: 1954: 1950: 1945: 1941: 1936: 1932: 1927: 1923: 1910: 1901: 1896: 1892: 1887: 1883: 1878: 1874: 1869: 1865: 1856: 1852: 1844: 1840: 1832: 1828: 1820: 1816: 1811: 1807: 1802: 1798: 1790: 1786: 1781: 1777: 1772: 1768: 1763: 1759: 1754: 1671: 1627:Toole's Theatre 1607:Royalty Theatre 1595:Francis Burnand 1536:André Calmettes 1516:San'yūtei Enchō 1443:Giacomo Puccini 1432:Tra-La-La Tosca 1417: 1281: 1269:Norman Ginsbury 1241:Garrick Theatre 1179:Fanny Davenport 1139:Fanny Davenport 1132: 1118: 1079: 1057: 1007: 971: 936: 915: 865:Diego Naselli, 823:Queen of Naples 725:Pierre Lacroix 651:Sarah Bernhardt 638: 613: 410: 392:Fanny Davenport 383:Félix Duquesnel 367:Alphonse Daudet 362:"Bien d'auteur" 291:Sarah Bernhardt 197: 167:Tra-La-La Tosca 161:and an English 149:Giacomo Puccini 144:Sarah Bernhardt 142:in Paris, with 75:Place premiered 52: 49:Sarah Bernhardt 47: 24: 17: 12: 11: 5: 3496: 3486: 3485: 3480: 3475: 3470: 3465: 3460: 3455: 3450: 3445: 3440: 3423: 3422: 3420: 3419: 3411: 3405: 3403: 3399: 3398: 3396: 3395: 3387: 3379: 3375:Le roi Carotte 3370: 3368: 3364: 3363: 3361: 3360: 3352: 3344: 3336: 3328: 3320: 3312: 3304: 3295: 3293: 3289: 3288: 3281: 3280: 3273: 3266: 3258: 3249: 3248: 3246: 3245: 3244: 3243: 3236: 3229: 3222: 3209: 3207: 3203: 3202: 3200: 3199: 3191: 3183: 3175: 3166: 3164: 3160: 3159: 3145: 3144: 3137: 3130: 3122: 3116: 3115: 3098: 3084: 3083:External links 3081: 3079: 3078: 3062: 3046: 3028: 3012: 2992: 2978: 2955:Deborah Burton 2947: 2931: 2919: 2907: 2893: 2880: 2870: 2860: 2844: 2837:New York Times 2834: 2827:New York Times 2824: 2817:New York Times 2814: 2807:New York Times 2804: 2797:New York Times 2794: 2787:New York Times 2784: 2776:New York Times 2772: 2760: 2749: 2733: 2718: 2702: 2686: 2670: 2661: 2650: 2647:New York Times 2639: 2623: 2614: 2607: 2598: 2582: 2566: 2561:Favre, Jules, 2559: 2543: 2540:New York Times 2532: 2520: 2504: 2488: 2473: 2464: 2454: 2443: 2427: 2417: 2408:Amazonas, Lee 2406: 2396: 2394: 2391: 2388: 2387: 2374: 2354: 2345: 2336: 2327: 2318: 2306: 2297: 2288: 2279: 2270: 2261: 2252: 2230: 2221: 2212: 2190:. Recipes for 2184:New York Times 2175: 2162: 2153: 2144: 2135: 2126: 2117: 2108: 2099: 2095:New York Times 2087: 2078: 2069: 2060: 2048: 2044:New York Times 2036:New York Times 2027: 2023:New York Times 2015: 2003: 1994: 1975: 1966: 1957: 1948: 1939: 1930: 1921: 1899: 1890: 1881: 1872: 1863: 1850: 1838: 1826: 1822:New York Times 1814: 1805: 1796: 1784: 1775: 1766: 1756: 1755: 1753: 1750: 1695:Farnese Palace 1680:Farnese Palace 1670: 1667: 1647:Giorgio Armani 1576:Rossano Brazzi 1528:Kabuki theatre 1485:Giuseppe Verdi 1477:Giulio Ricordi 1424:Arthur Roberts 1416: 1413: 1374:Jules Lemaître 1361:William Winter 1324:New York Times 1315:Jules Lemaître 1309:calling it a " 1280: 1277: 1257:Italia Vivanti 1159:Rio de Janeiro 1155:Lyceum Theatre 1131: 1128: 1117: 1114: 1078: 1075: 1056: 1053: 1012:Farnese Palace 1006: 1003: 974:The church of 970: 967: 955:Siege of Genoa 947:Roman Republic 935: 932: 914: 911: 908: 907: 904: 900: 899: 896: 892: 891: 888: 881: 880: 877: 873: 872: 869: 862: 861: 858: 851: 850: 847: 840: 839: 836: 829: 828: 825: 815: 814: 805: 798: 797: 795:Félicia Mallet 792: 782: 781: 778: 771: 770: 767: 760: 759: 756: 749: 748: 745: 738: 737: 734: 727: 726: 723: 710: 709: 708:Émile Francès 706: 699: 698: 695: 693:and a fugitive 691:Roman Republic 680: 679: 674: 667: 666: 664:Camille Dumény 661: 654: 653: 648: 644:Floria Tosca, 641: 640: 635: 612: 609: 478:Roman Republic 440:Deborah Burton 409: 406: 234:Monsieur Garat 196: 193: 111: 110: 107: 103: 102: 97: 93: 92: 87: 83: 82: 76: 72: 71: 68: 67:Date premiered 64: 63: 58: 54: 53: 44:Alphonse Mucha 41: 33: 32: 15: 9: 6: 4: 3: 2: 3495: 3484: 3481: 3479: 3476: 3474: 3471: 3469: 3466: 3464: 3461: 3459: 3456: 3454: 3451: 3449: 3446: 3444: 3441: 3439: 3436: 3435: 3433: 3417: 3416: 3412: 3410: 3407: 3406: 3404: 3402:Miscellaneous 3400: 3393: 3392: 3388: 3385: 3384: 3380: 3377: 3376: 3372: 3371: 3369: 3365: 3358: 3357: 3353: 3350: 3349: 3345: 3342: 3341: 3337: 3334: 3333: 3329: 3326: 3325: 3321: 3318: 3317: 3313: 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2864: 2863:Otago Witness 2861: 2859: 2858:0-226-57972-7 2855: 2851: 2850: 2845: 2842: 2838: 2835: 2832: 2828: 2825: 2822: 2818: 2815: 2812: 2808: 2805: 2802: 2798: 2795: 2792: 2788: 2785: 2782: 2778: 2777: 2773: 2770: 2766: 2765: 2761: 2758: 2754: 2750: 2748: 2747:1-4437-2845-4 2744: 2740: 2739: 2734: 2731: 2727: 2725: 2719: 2717: 2716:0-87565-318-9 2713: 2709: 2708: 2703: 2701: 2700:2-228-89357-9 2697: 2693: 2692: 2687: 2685: 2684:1-85285-526-6 2681: 2677: 2676: 2671: 2668: 2667: 2662: 2659: 2655: 2651: 2648: 2644: 2640: 2638: 2637:0-330-48864-3 2634: 2630: 2629: 2624: 2621: 2620: 2615: 2612: 2608: 2605: 2604: 2599: 2596: 2594: 2588: 2587: 2586:(Il) Giornale 2583: 2581: 2580:0-9771320-4-8 2577: 2573: 2572: 2567: 2564: 2560: 2558: 2557:0-520-02283-1 2554: 2550: 2549: 2544: 2541: 2537: 2533: 2530: 2526: 2525: 2521: 2519: 2518:0-405-08361-0 2515: 2511: 2510: 2505: 2503: 2502:0-521-29661-7 2499: 2495: 2494: 2489: 2486: 2482: 2480: 2474: 2471: 2470: 2465: 2462: 2458: 2455: 2452: 2448: 2445:Baker, Evan, 2444: 2442: 2441:1-4437-4068-3 2438: 2434: 2433: 2428: 2426:, p. 346 2425: 2424:December 1887 2421: 2418: 2415: 2411: 2407: 2404: 2403: 2398: 2397: 2384: 2378: 2372: 2368: 2364: 2358: 2349: 2340: 2331: 2322: 2315: 2310: 2301: 2292: 2283: 2274: 2265: 2256: 2240: 2234: 2225: 2216: 2209: 2205: 2201: 2197: 2193: 2189: 2185: 2179: 2172: 2171:Reading Eagle 2166: 2157: 2148: 2139: 2130: 2121: 2112: 2103: 2096: 2091: 2082: 2073: 2064: 2057: 2052: 2045: 2041: 2037: 2031: 2024: 2019: 2010: 2008: 1998: 1990: 1985: 1979: 1970: 1961: 1952: 1943: 1934: 1925: 1918: 1916: 1908: 1906: 1904: 1894: 1885: 1876: 1867: 1860: 1854: 1847: 1846:Otago Witness 1842: 1835: 1834:Otago Witness 1830: 1823: 1818: 1809: 1800: 1794: 1788: 1779: 1770: 1761: 1757: 1749: 1747: 1743: 1740:to Puccini's 1739: 1735: 1731: 1726: 1720: 1713: 1710: 1702: 1701: 1696: 1692: 1688: 1684: 1681: 1677: 1662: 1658: 1656: 1652: 1648: 1644: 1640: 1636: 1632: 1628: 1624: 1620: 1616: 1612: 1608: 1604: 1600: 1596: 1592: 1587: 1585: 1581: 1577: 1574:as Tosca and 1573: 1569: 1565: 1561: 1557: 1553: 1549: 1545: 1541: 1537: 1533: 1529: 1525: 1521: 1517: 1513: 1509: 1504: 1502: 1498: 1494: 1490: 1486: 1482: 1478: 1474: 1470: 1466: 1462: 1458: 1457:Opéra-Comique 1454: 1450: 1449: 1444: 1440: 1433: 1429: 1425: 1421: 1412: 1410: 1406: 1402: 1398: 1394: 1389: 1387: 1383: 1379: 1375: 1371: 1366: 1362: 1358: 1351: 1347: 1343: 1341: 1340:anti-clerical 1334: 1329: 1326: 1325: 1320: 1316: 1312: 1308: 1304: 1296: 1292: 1291: 1285: 1276: 1274: 1270: 1266: 1262: 1261:Eleonora Duse 1259:(a cousin of 1258: 1254: 1250: 1246: 1242: 1238: 1234: 1233:Blanche Walsh 1229: 1227: 1226: 1220: 1216: 1212: 1208: 1204: 1200: 1196: 1192: 1188: 1184: 1180: 1176: 1172: 1170: 1165: 1160: 1156: 1151: 1144: 1140: 1136: 1127: 1123: 1122: 1111: 1106: 1102: 1099: 1094: 1088: 1087: 1085: 1074: 1072: 1068: 1062: 1061: 1049: 1045: 1040: 1036: 1034: 1029: 1025: 1021: 1016: 1015: 1013: 1002: 1000: 999: 993: 989: 988:Mary Magdalen 985: 980: 979: 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332: 331: 326: 322: 318: 314: 313:Pierre Berton 310: 306: 305: 300: 296: 292: 288: 285:Sardou wrote 281: 277: 273: 269: 267: 263: 259: 255: 251: 250: 245: 244: 239: 235: 231: 227: 223: 219: 215: 209: 205: 201: 192: 190: 186: 182: 178: 174: 170: 168: 164: 160: 156: 155: 150: 145: 141: 137: 133: 130: 126: 123: 119: 118: 108: 104: 101: 98: 94: 91: 88: 84: 80: 77: 73: 69: 65: 62: 59: 55: 50: 45: 39: 34: 29: 26: 22: 3413: 3391:Les barbares 3389: 3381: 3373: 3354: 3346: 3338: 3330: 3323: 3322: 3314: 3306: 3298: 3233:Vissi d'arte 3212: 3193: 3185: 3177: 3169: 3149: 3148: 3102: 3090: 3066: 3050: 3033: 3016: 3000: 2995: 2981: 2950: 2935: 2921: 2909: 2896: 2887: 2872: 2862: 2848: 2836: 2826: 2816: 2806: 2796: 2786: 2774: 2762: 2756: 2737: 2729: 2723: 2706: 2704:Jones, Jan, 2690: 2674: 2665: 2657: 2646: 2627: 2618: 2610: 2602: 2592: 2584: 2570: 2547: 2539: 2522: 2508: 2492: 2484: 2478: 2468: 2456: 2431: 2419: 2413: 2401: 2382: 2377: 2366: 2362: 2357: 2348: 2339: 2330: 2321: 2313: 2309: 2300: 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Operabase 1631:Lucio Dalla 1617:(1883) and 1615:Stage-Doora 1601:. In their 1580:Jean Renoir 1532:silent film 1493:librettists 1415:Adaptations 1378:Oscar Wilde 1265:Sita Riddez 884:Colometti, 838:Marie Auge 810:en travesti 801:Gennarino, 776:a policeman 387:Saint-Auban 371:Saint Aubin 333:, Sardou's 254:Robespierre 134:playwright 3438:1887 plays 3432:Categories 2654:"La Tosca" 2192:Mousseline 1752:References 1691:Hohenstein 1623:The O'Dora 1313:", as did 1211:affidavits 1033:monsignors 906:Cartereau 763:Spoletta, 758:Deschamps 752:Trevulce, 741:Capréola, 634:Character 576:, and the 512:d'Alembert 408:Characters 120:is a five- 57:Written by 42:Poster by 3332:Thermidor 1746:Barberini 1730:soliloquy 1570:starring 1564:Carl Koch 1506:Earlier, 1405:menagerie 1359:in 1892. 1311:pantomime 1303:La Tosca' 1279:Reception 1215:Nadjezda' 1028:Paisiello 984:sacristan 895:Sergeant 843:Luciana, 786:Paisiello 716:sacristan 574:La Fenice 537:Garibaldi 525:confessor 516:Helvétius 494:Carbonari 335:Cléopâtre 243:Thermidor 163:burlesque 46:depicting 3367:Libretti 3348:Gismonda 3324:La Tosca 3308:La Haine 3187:La Tosca 3179:La Tosca 3171:La Tosca 3150:La Tosca 3108:libretto 3091:La Tosca 2957:, 2004: 2724:La Tosca 2383:canaille 2196:consommé 2040:Nadjezda 1709:La Tosca 1619:Théodora 1591:La Tosca 1522:, while 1508:La Tosca 1489:La Tosca 1473:La Tosca 1439:La Tosca 1393:La Tosca 1386:La Tosca 1365:La Tosca 1295:La Tosca 1219:La Tosca 1207:La Tosca 1203:Nadjezda 1195:La Tosca 1175:La Tosca 1164:La Tosca 1150:La Tosca 1143:La Tosca 1093:scaffold 1044:La Tosca 959:Napoleon 939:La Tosca 923:La Tosca 913:Synopsis 871:Delisle 860:Gaspard 854:Ceccho, 713:Eusèbe, 595:is from 589:region. 570:La Scala 444:Torlonia 424:La Tosca 401:Gil Blas 379:La Tosca 339:Théodora 330:Ruy Blas 309:Théodora 299:La Tosca 297:, where 287:La Tosca 268:is set. 266:La Tosca 262:Piranesi 252:(1893), 246:(1891), 240:(1873), 236:(1860), 230:La Tosca 224:and the 218:Napoleon 185:Napoleon 173:La Tosca 117:La Tosca 31:La Tosca 3383:Patrie! 2967:Act III 2393:Sources 1635:musical 1611:Féodora 1191:Féodora 1050:, 1887) 1024:cantata 998:Te Deum 929:, 1887) 898:Besson 879:Dumont 849:Durand 827:Bauché 747:Joliet 736:Violet 689:of the 685:former 508:Diderot 474:Consuls 436:Livorno 343:Barbier 127:by the 106:Setting 81:, Paris 3394:(1901) 3386:(1886) 3378:(1872) 3359:(1907) 3351:(1894) 3343:(1893) 3335:(1891) 3327:(1887) 3319:(1882) 3316:Fédora 3311:(1874) 3303:(1862) 3206:Operas 3198:(2001) 3190:(1973) 3182:(1918) 3174:(1909) 3157:(1887) 3074: 3058: 3042: 3024: 3008: 2988: 2971:Act IV 2963:Act II 2943: 2903: 2856: 2745: 2714: 2698: 2682: 2635: 2578: 2555: 2516: 2500: 2439: 2204:Sorbet 2188:passim 2042:, see 1793:passim 1428:parody 1397:francs 1067:Medici 780:Piron 697:Rosny 687:Consul 597:Sicily 587:Veneto 551:Verona 462:Naples 341:, and 304:Fédora 258:Pamela 204:Sardou 132:French 90:French 3292:Plays 3214:Tosca 3195:Tosca 3163:Films 3103:Tosca 2996:Tosca 2975:Act V 2959:Act I 2911:Punch 2479:Tosca 2245:8 May 1984:Tiber 1915:Tosca 1700:Tosca 1568:Tosca 1554:with 1465:Tosca 1448:Tosca 1290:Punch 1116:Act 5 1077:Act 4 1055:Act 3 1020:Genoa 1005:Act 2 969:Act 1 890:Jégu 601:satyr 154:Tosca 125:drama 96:Genre 3072:ISBN 3056:ISBN 3040:ISBN 3022:ISBN 3006:ISBN 2986:ISBN 2941:ISBN 2901:ISBN 2854:ISBN 2743:ISBN 2712:ISBN 2696:ISBN 2680:ISBN 2633:ISBN 2576:ISBN 2553:ISBN 2514:ISBN 2498:ISBN 2437:ISBN 2247:2011 2208:Sole 2182:See 1538:and 1499:and 1483:and 1441:was 1372:and 1255:and 565:Nina 533:Nice 510:and 337:and 325:Hugo 3153:by 1655:RAI 1621:as 1613:as 1026:by 718:of 345:'s 327:'s 151:'s 122:act 3434:: 2973:, 2969:, 2965:, 2961:, 2926:, 2914:, 2886:, 2875:, 2865:, 2839:, 2829:, 2819:, 2809:, 2799:, 2789:, 2779:, 2767:, 2755:, 2656:, 2645:, 2589:, 2538:, 2527:, 2483:, 2459:, 2422:, 2412:, 2006:^ 1902:^ 1649:. 1637:, 1593:, 1586:. 1495:, 1430:, 821:, 813:) 788:, 572:, 543:. 496:. 349:. 319:, 278:, 165:, 3277:e 3270:t 3263:v 3242:" 3238:" 3235:" 3231:" 3228:" 3224:" 3141:e 3134:t 3127:v 3036:" 2591:" 2481:" 2381:" 2249:. 1917:" 1641:( 1046:( 925:( 23:.

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