Il Barbiere di Siviglia - Gioacchino Rossini (1792-1868)
Melodrama buffo in two acts (1816)
Libretto by Cesare Sterbini from Pierre-Augustin Caron de Beaumarchai comedy
22, 25, et 28 July & 03, 05 et 08 August
Act 1
The Count Almaviva, in his attempts to seduce the beautiful Rosina, disguises himself as the poor student "Lindor". Rosina is hidden away in the grand townhouse of the aged Doctor Bartolo, who would like to marry her himself. Figaro, the barber and general factotum of Dr. Bartolo, has easy access to the home, and promises his old friend Almaviva that he can help. After hearing his serenade, Rosina writes a note to Lindor. The music master Don Basilio arrives and announces to Bartolo that Almaviva is in town, and actively seeking out Rosina. Basilio suggests a smear campaign of calumny and misinformation against the Count. Bartolo asks that the marriage contract between himself and Rosina be drawn up immediately. Almaviva, disguised as a drunken sailor, enters the townhouse and informs Bartolo that he has officially been ordered to be billeted there. In the confusion, Almaviva whispers to Rosina that he is actually Lindor. Bartolo and Basilio attempt to make Lindor leave, but he refuses. Almaviva slips a note to Rosina, who slyly exchanges it for a laundry list. As chaos ensues, a group of real soldiers arrive, trying to find out what is happening in the tumultuous Bartolo houshold. After identifying his social stature to the police, the count finally leaves, as the act ends in pandemonium.
Act 2
In a third disguise, Almaviva arrives as Don Alonso, who has been called in to replace an ailing Don Basilio. After gaining the confidence of Bartolo, he gives his music lesson to Rosina, Figaro arrives to shave Bartolo, and amidst all the animation, Figaro steals a key that will help Rosina and Almaviva elope. Basilio unexpectedly arrives, but with a handsome bribe from Almaviva, the real music master is convinced to go along with the plot. The ever jealous and suspicious Bartolo urges Basilio to quickly find a notary. Bartolo manages to convince Rosina that Lindor is working for Almaviva, and that Lindor's love is feigned. The upset Rosina confesses her plan to elope with Lindor that very night, but all is arranged when Lindor returns and proclaims his true identity, as well as his true love. Things get worse when Basilio returns with the Notary, but ever susceptible to even more bribery, Basilio agrees to witness the wedding between Rosina and the Count. Bartolo returns, and though initially furious that he will not wed Rosina, calms down when he learns that it is now no longer necessary for him to pay a dowry.
Tosca - Giacomo Puccini (1858-1924)
Melodramma in three acts (1900)
Libretto by Giuseppe Giacosa and Luigi Illica from Victorien Sardou's play
01, 04, 07, 10 , 13 et 15 August
Rome, June 1800
Act 1 mid morning, Sant'Andrea della Valle church
Angelotti, a political prisoner, staggers into the Sant'Andrea della Valle church after his escape minutes before from the Castel Sant Angelo, and hides himself in a side chapel. An aged Sacristan shuffles through the church, muttering to himself. The liberal, left-leaning Mario Cavaradossi arrives and continues work on a large painting of Mary Magdalene. Looking at a miniature, he compares the raven beauty of his own lover to that of the blond Magdelene. Angelotti soon realizes that he knows the painter is Cavaradossi, his old friend and sympathizer. As Cavaradossi learns of Angelotti's grave circumstances, and gives the starving prisoner his lunch basket, they are interrupted by a surprise visit from Floria Tosca, Rome's most famous singer, and Cavaradossi's lover. Angelotti again hides. Tosca becomes enraged when she recognizes the face on the fresco is that of the Marchesa Attavanti (Angelotti's sister). The painter calms her jealousy, and assures her of his love. Finally mollified, she teases the painter about his fresco, and councils him in parting to "paint her eyes dark".... The two men again enter into earnest conversation, Cavaradossi giving the prisoner information on a foolproof hideout. A thunderous cannon shot rings out, signaling Angelotti's escape, and the impassioned Cavaradossi decides to accompany Angelotti to his very own villa. Meanwhile, the church choristers, with the Sacristan, celebrate a news report that Napoleon has been defeated in Marengo. In the midst of the revelry Scarpia, the dreaded chief of the secret police, bursts into the church and orders a search. With pleasure, he pieces together what took place. The ever-jealous Tosca returns, looking for her lover, and Scarpia pounces. He hints, with the help of the fresco and a forgotten Attavanti fan, that Cavaradossi has abruptly left with the other woman, provoking the furious Tosca to leave for the villa. She is surreptitiously followed by several of Scarpia's sbires. As the solemn Te Deum proceeds, the cruel Scarpia gloats simultaneously of his double aim: not only to kill the political prisoner, but also to physically ravish Tosca.
Act 2 Evening, Palazzo Farnese
As he dines alone, Scarpia ruminates on the events of the day, and anticipates the sadistic pleasure of breaking Tosca's will. His chief spy Spoletta arrives, and though he has not found Angelotti, has brought in Cavaradossi. As an offstage Cantata downstairs is being sung, featuring Tosca's voice, Cavaradossi is led in and questioned about Angelotti's whereabouts. When Cavaradossi refuses to release any information, he is led out a door to the torture chamber. Tosca is brought in, and hearing Cavaradossi's cries, anxiously reveals Angelotti's hiding place. As the bloodied Cavaradossi is carried back in, breaking news arrives that Napoleon has rather won in Marengo, politically a loss for Scarpia. Cavaradossi defiantly shouts his hatred of tyranny, and is violently led away, leaving Tosca alone with Scarpia.The Baron suggests an exchange of her lover's life for a sexual encounter with him. Tosca sings a hymn to God, expressing her dedication to art and love. Scarpia again insists, but Spoletta interrupts: faced with capture, Angelotti has killed himself. Horrified, Tosca finally agrees to give herself to the police chief if he will give them a safe-conduct to leave the city. Scarpia explains that he will do this, but, to save face, he must perform a mock execution. As the ink dries on the document, Tosca stabs Scarpia with his own dinner knife, and taunts him as he dies before her eyes. She wrenches the safe-conduct from his stiffening fingers, and slips out of the room.
Act 3 4 am the next morning, Castel Saint Angelo
Just before dawn, as church bells toll, the voice of a shepherd boy is heard. Mario reflects on his impending execution, and his powerful desire to live. Suddenly Tosca arrives, and
after their exuberant reunion she produces the safe-conduct pass. Tosca explains that the soldiers will be firing only blank cartridges. Cavaradossi marvels at how such sweet hands could commit murder for his sake. The executioners arrive and Tosca coaches Mario on how to convincingly fake his own death... The soldiers fire, and Cavaradossi falls dead, to the stupefaction of Tosca. Even after life, Scarpia has managed to trick and destroy. Other soldiers, having just now discovered Scarpia's body, race up the Castel Sant'Angelo, chasing Tosca to the ramparts. Tosca, defiant to the last, cries to Scarpia to meet her before God, and flings herself off the walls of the castle to sudden death below.