usic by GIACOMO PUCCINI.

The libretto of this opera is adapted from Sardou's tragedy of the same
name; it possesses all the exquisite stage effects of which this writer
is capable. It is based on fact; these most tragic events having
actually taken place in Rome in 1800 at the time of the battle of
Marengo.

The music far surpasses the libretto, although {463} the latter handles
the dreadful facts with as much delicacy as possible.

Puccini may fairly be called the most gifted among Italian composers.
In Tosca especially he has shown the ennobling influence of music over
an otherwise repulsive theme. The lovely melodies inspire us with a
warm interest in all the persons of the play, with the exception of
Scarpia, that living incarnation of evil and corruption. The leading
melodies that introduce Scarpia are almost brutal in their tone; the
three intervals of B flat, A flat and E which accompany Scarpia from
the beginning through the whole drama sound hard and inexorable like
fate, and form a striking contrast to the songs of the two lovers,
whose duet in the third act is one of the sweetest things ever written.

The scene is laid in Rome. The first act takes place in the church of
Sant' Andrea della Valle. Cesare Angelotti a state-prisoner has
escaped from gaol and is hiding in a private chapel of which his
sister, the Lady Attavanti, has secretly sent him the key.

When he has disappeared from view the painter Cavaradossi enters the
church. He is engaged in painting a picture to represent Mary
Magdalen; the canvass stands on a high easel and the sacristan, who is
prowling about, recognizes with scandalized amazement and indignation
that the sacred picture resembles a beautiful lady, who comes to pray
daily in the church. The old man, after having {464} left a basket
with food for the painter, retires grumbling at this sacrilege.

When he is gone Angelotti comes forward, and the painter recognizing in
the prisoner the Consul of the late Roman Republic who is at the same
time an intimate friend of his own, puts himself at his disposal, but
hearing the voice of his fiancee Tosca, who demands entrance he begs
the prisoner, a victim of the vile Scarpia, to retire into the chapel,
giving him the refreshments, which the sacristan has left.

At last he opens the church-door, and Tosca, a famous singer enters
looking suspiciously around her, for she is of a jealous disposition.
She begs her lover to wait for he