TOSCA is based on a play by French
dramatist Victorien Sardou entitled
La Tosca. Sardou was a leading figure of the theatrical world in
Paris where La Tosca premiered in 1887. His popularity was linked
to the famous career of actress Sarah Bernhart — for whom the role of
Tosca was written.
Puccini first saw a performance of La Tosca in 1889 and was
immediately interested in the story. His publisher, Giulio Ricordi,
however, dissuaded Puccini from pursuing the idea because he wanted him to
complete the opera on which he was working, Manon Lescaut.
It was not until 1895 that Puccini's interest in La Tosca was
again sparked when he learned that librettist Luigi Illica, with whom he
had just collaborated on his opera La Bohème, was working on a
libretto for La Tosca for a rival composer, Alberto Franchetti.
Puccini's desire to pursue La Tosca was further spurred when he
learned that Giuseppe Verdi, the famous Italian composer whose Aida
inspired Puccini to become a composer, expressed an interest in the story.
Verdi, however, then age eighty-one, felt that he was too old to undertake
the project himself.
Puccini was now determined that La Tosca would be his. Ricordi
and Illica assisted in rescuing La Tosca from Franchetti by
undermining his confidence in the story and convincing Franchetti that it
was not suited for his talents or the operatic stage. As soon as
Franchetti relinquished the rights to the story, La Tosca was
quickly turned over to Puccini.
The text that Illica had prepared for Franchetti provided a starting
point for TOSCA. Librettist Giuseppe Giacosa joined in the collaboration.
Sardou also assisted with the adaptation of the story. It has been said
that Sardou felt the libretto was better than his own play.
Puccini paid close attention to every detail of the opera to ensure
accurate correspondence of the action on the stage to historical reality.
Puccini traveled to Rome because he wanted to hear for himself the sounds
and pitches of the Roman churches surrounding Castel Sant'Angelo. He also
sought clerical advice as he researched liturgical practices for the "Te
Deum" scene of the first act. Even the costumes, especially the sacred
vestments, were researched and designs created from historical
documentation.
Nearly five years in the making, TOSCA was finally complete. It
premiered on January 14, 1900 in the city where the events of the opera
take place – Rome. The premiere of Puccini's newest opera created
international news. Government dignitaries and royalty were in attendance
including Queen Margherita of Italy who twenty years earlier had provided
Puccini with a scholarship to the Milan Conservatory.
Many of Puccini's rivals were also in attendance eager to see Puccini
fall from grace after two consecutive successes with Manon Lescaut
and La Bohème. A rumor had even been spread that a bomb would be
thrown into the theatre during the performance. The commotion of noisy
late arrivals trying to get into the house created such a stir that the
conductor put down his baton and the curtain was lowered. When silence was
restored, the performance began again.
The premiere of TOSCA was a success with the audience — twenty-one
calls and five encores were received. The reviews were mixed, but Puccini
felt secure about his opera and said, "This is not conceit on my part. It
is the conviction of having expressed to the best of my ability the drama
which was before me." Puccini was once again right. TOSCA remains a staple
of operatic repertoire and a lasting audience favorite.
