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OPERA / 2018-2019
TOSCA
TEACHER AND PARENT GUIDE
Washington National Opera Open Rehearsal
Music by Giacomo Puccini
Libretto by Luigi Illica and Giuseppe Giacosa
Based on the play La Tosca by Victorien Sardou
Student Guide: Tosca
Caption: Original poster by Alphonse Maria Mucha for the play La Tosca (1887) featuring actress Sarah Bernhardt.
Parents, Teachers, and Caregivers: We’ve Got You Covered
Hey there, adults. We’re sure you’re already familiar with the concept of opera but, just in case you’re looking for a refresher or you want to go deeper, here are some thoughts that may be of interest:
Opera A 400-year-old genre born in Italy that was cultivated throughout Europe from the sixteenth to the nineteenth centuries and eventually made its way to the United States (that’s right, Americans write operas, too). As you’ve probably guessed, there will be singing. Lots of it. Just think of it as heightened speech. A soprano may hit a really high note when she’s angry or scared. A bass might lay down a low note when he wants to be extra menacing.
Italian maestro Giacomo Puccini’s Tosca, which debuted in Rome (the city in which it takes place) in 1900, was a masterpiece several years in the making. As early as 1889, Puccini was clamoring to turn the story of a singer and her artist lover caught in a web of political intrigue into an opera. Having seen Victorien Sardou’s French play La Tosca––a melodrama written for the eminent stage star Sarah Bernhardt––Puccini knew the piece had “opera” written all over it, and he soon began shopping for the rights to transform La Tosca into a musical work. In Tosca’s story, Puccini wrote, he saw an opera that he more or less “needed” to write.
But Puccini’s dreams of setting La Tosca to music were almost derailed when, years later, the rights to La Tosca were handed over to a different composer, who’d already lined up a libretto with erstwhile Puccini collaborator, Luigi Illica. Fortune favored Puccini, however, and the rights soon fell into his hands anyway, with Illica still on board as co-librettist with Giuseppe Giacosa (you may have heard of yet another Puccini-Illica-Giacosa partnership: a little opera called La bohème). After three years of work, the result was Tosca, an instant hit that remains among opera’s most popular picks to this very day.
Over the course of his career, Puccini would become known for his international flare and his penchant for setting operas in places that were unfamiliar to European audiences such as Japan, China, and even the United States. In these works, Puccini would take pains to be as authentic as possible by researching indigenous folk tunes, immersing himself in his settings, etc. But with Tosca, Puccini kept things a whole lot closer to home (and, legend has it, well within the family). Set in his native land, Tosca was an unmistakably Italian story (fiercely passionate heroine, effortlessly romantic hero, wine-swilling villain and all) with no need for “exotic” melodies that evoked faraway places.
Still, Tosca’s Roman backdrop didn’t stop Puccini from doing his homework before bringing the final product to the opera house. An expert was consulted to help Puccini recreate the sound of the Vatican church bell, and there’s evidence the composer was influenced by an original “Te Deum” hymn written by his grandfather, Domenico, for the so-called defeat of Napoleon in 1800. And, if all that wasn’t enough, Puccini reportedly slept on the roof of Rome’s Castel Sant’Angelo prison to get a clear sense of the tolling bells that could be heard by his hero Cavaradossi in Act 3. Upon Tosca’s premiere, some detractors felt these atmospheric sounds were unnecessary and didn’t really count as music, but, to Puccini, these little touches were no doubt essential for making audiences feel they were active participants in the drama.
You’re ready for Puccini’s Tosca.
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Writer: Eleni Hagen
Content Editor: Lisa Resnick
Logistics Coordination: Katherine Huseman
Producer and Program Manager: Tiffany A. Bryant
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David M. Rubenstein
Chairman
Deborah F. Rutter
President
Mario R. Rossero
Senior Vice President
Education
Timothy O’Leary
General Director
Francesca Zambello
Artistic Director
Major support for WNO and Tosca is provided by Jacqueline Badger Mars.
David M. Rubenstein is the Presenting Underwriter of WNO.
WNO acknowledges the longstanding generosity of Life Chairman Mrs. Eugene B. Casey.
WNO's Presenting Sponsor
Generous support for WNO Italian Opera is provided by Daniel and Gayle D’Aniello.
Unexpected Italy is presented in cooperation with the Embassy of Italy.
International programming at the Kennedy Center is made possible through the generosity of the Kennedy Center International Committee on the Arts.
This performance is made possible by the Kimsey Endowment;The Morris and Gwendolyn Cafritz Foundation and the U.S. Department of Education.
Major support for educational programs at the Kennedy Center is provided by David M. Rubenstein through the Rubenstein Arts Access Program.
Kennedy Center education and related artistic programming is made possible through the generosity of the National Committee for the Performing Arts.
The contents of this guide have been developed under a grant from the U.S. Department of Education and do not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the Federal Government.
© 2019 The John F. Kennedy Center for the Performing Arts
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