![]() ![]() The painter presses the basket with wine and viands upon the exhausted fugitive, and urges him back into the chapel, while from without Tosca calls more insistently, "Mario!"įeigning calm, for the meeting with Angelotti, who had been concerned in the abortive uprising to make Rome a republic, has excited him, Cavaradossi admits Tosca. Just then, however, Toscas voice is heard outside. Angelotti has just escaped from the prison in the castle of Sant Angelo. The Sacristan leaves.Īngelotti, believing no one to be in the church, comes out of his hiding place. ![]() The Sacristan casts a greedy look at the basket, as he thinks of the benefit he will derive from the artists abstemiousness. Finally, his task with the brushes over, he points to the basket and asks, "Are you fasting?" "Nothing for me," says the painter. Meanwhile the Sacristan, engaged in cleaning the brushes in a jug of water, continues to growl over the sacrilege of putting frivolous women into religious paintings. ![]() "Recondita armonia di bellezza diverse" (Strange harmony of constrasts deliciously blending), he sings. He compares the face in the portrait with the features of the woman he loves, the dark-eyes Floria Tosca, famous as a singer. Cavaradossi, however, has other things to think of. The good man is scandalized at what he considers a sacrilege. The sacristan recognizes in it the portrait of a lady who lately has come frequently to the church to worship. He uncovers the painting - a Mary Magdalen with large blue eyes and masses of golden hair. He looks into the basket, finds the luncheon in it untouched, and now is sure he was mistaken in thinking he had seen the painter enter. He has a bunch of brushes that he has been cleaning, and evidently is surprised not to find Cavaradossi at his easel. Beneath the feet of the image he searches for and discovers a key, unlocks the Attavanti chapel and disappears within it. ![]() Looking about, he recognizes a pillar shrine containing an image of the Virgin, and surmounting a receptacle for holy water. He has escaped from prison and is seeking a hiding place. On the easel a large picture covered by a cloth. To the right the Attavanti chapel left a scaffolding, dais, and easel. Three sharp, vigorous chords, denoting the imperious yet sinister and vindictive character of Scarpia - such is the introduction to "Tosca."Īct I. ![]()
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