Tonight s performance is dedicated to KSO s founder, Leslie Head, to celebrate his 90th year

Transcription

1 56th SEASON

2 Tonight s performance is dedicated to KSO s founder, Leslie Head, to celebrate his 90th year Leslie Head was born in Hove in In the days when even the most unmusical family, as was his, had a piano in the front room, he took lessons, soon developing a flair for improvising the popular music of the day, and at 15 he set up a school dance band. Further musical study was delayed by over five years spent outside London in the war as a radio operator. Afterwards he managed, in his own words on only the smallest amount of evidence and a great deal of luck to gain entry to the Guildhall School of Music. Here he focussed on conducting and (as the orchestra was short of players) the French horn, never having played one before. This led to various positions as an orchestral player with the Carl Rosa Opera Company, the CBSO, the Scottish National Orchestra, and the RPO under Beecham. By 1955 Leslie had become the Co-Founder and Conductor of Morley College Symphony Orchestra and in the following year he founded Kensington Symphony Orchestra. In 1963 he took on the additional roles of music and artistic director of Opera Viva and, later, Pro Opera, KSO being the house orchestra for both enterprises. The repertoire covered was considerable by any standards. KSO was primarily, until the 1980s, a rehearsal orchestra which is to say each week would focus on different music, honing the sight-reading skills of would-be professionals and keen amateurs alike. The concert and opera programmes themselves were then slotted into this schedule with relatively little rehearsal. Nevertheless, the KSO archives capture many glowing reviews of Leslie s work from this era: A true Verdian to the tip of his baton. The Times. His performances have an instinctive rightness of tempo. He knows when and how to broaden; when and how much to press on towards a climax. He breathes with the singer, inspiring them to eloquent phrasing. Financial Times. Leslie Head infected KSO with his own obvious enthusiasm of the score and his lively conducting made us realise La Rondine is a work we have neglected to our loss. Music and Musicians. Many leading singers including Sarah Walker, John Tomlinson, Elizabeth Connell and Della Jones were provided with early opportunities by Leslie Head, and the list of first or revival UK performances of opera, choral and orchestral works is remarkable. It s a tremendous legacy, the spirit of which lives on today and shows every sign of continuing.

3 Puccini Tosca An opera in three acts Libretto by Luigi Illica and Giuseppe Giacosa Floria Tosca: Naomi Harvey Mario Cavaradossi: Geraint Dodd Il barone Scarpia: Nicholas Folwell Il Sagrestano: William Robert Allenby Spoletta: David Newman Cesare Angelotti: Matthew Hargreaves Sciarrone/Il carceriere: Simon Lobelson Un pastore: Dominic Williams Twickenham Choral Society Trinity Boys Choir Kensington Symphony Orchestra (leader Alan Tuckwood) Conductor: Russell Keable There will be an interval of 20 minutes after Act I Monday 14 May 2012, 7.30pm St. John s, Smith Square Cover taken from Zocchi s View of the Tiber looking towards the Castel Sant Angelo, Saint Peter s in the distance In accordance with the requirements of Westminster City Council persons shall not be permitted to sit or stand in any gangway. The taking of photographs and use of recording equipment is strictly forbidden without formal consent from St. John s. Smoking is not permitted anywhere in St. John s. Refreshments are permitted only in the Restaurant in the Crypt. During the interval and after the concert the Restaurant in the Crypt is open for licensed refreshments. Please ensure that all digital watch alarms, pagers and mobile phones are switched off. Box office tel: Website: For details of future events at St. John s please send 8.00 annual subscription to the box office. St. John s, Smith Square Charitable Trust, registered charity no: Registered in England. Company no: General Manager: Paul Davies.

4 TONIGHT S PROGRAMME GIACOMO PUCCINI Tosca Puccini was born into music. He represented the fifth generation of a tradition stretching back to his namesake and great-great-grandfather, who was composer, organist and choirmaster at the San Martino Cathedral in Lucca in the early 18th century. When Giaocomo was only five his father died, and so it was his uncle who gave him his musical education. By the time he reached his teens he was making a living as a musician, playing and teaching organ and writing pieces for his organ pupils. Rumour has it that he also had a subsidiary income from stealing and selling the organ pipes; this apparently had the side effect of forcing him to improvise new harmonies for the music he played in church. At 17, he walked 30 miles from Lucca to Pisa to see a production of Verdi s Aïda. Giacomo Puccini This was a revelation: I felt that a musical window had opened for me, he later said. Almighty God touched me with his little finger and told me to write for the theatre mind, only the theatre. His mother, determined that her son should achieve the greatness that she was convinced was his destiny, persuaded a rich uncle of hers to contribute towards the fees for him to study in Milan. For the rest of the money, she wrote to Queen Margherita of Italy. Her melodramatic letter emphasised her son s position as the youngest of a dynasty of musicians and asked the queen to help a poor mother and an ambitious boy. Her nerve paid off, and Puccini duly received a royal scholarship of one hundred lire per month for a year not much, but enough for him to enroll at the Milan Conservatory in Puccini s career as an opera composer began three years later, when he wrote Le Villi for a competition organised by the publisher Edoardo Sonzogno. The score was delivered at the last minute and rejected as illegible. Puccini was a fastidious man but this did not extend to his handwriting, which would remain notoriously bad throughout his career. Fortunately, another publisher, Ricordi, agreed to publish the opera and organise three performances. By the mid 1890s Puccini was established as a leading light of Italian opera, with both Manon Lescaut and La Bohème under his belt. Even before La Bohème was completed he was planning to adapt a play by the French dramatist Victorien Sardou, La Tosca. This had premiered in 1887 with Sarah Bernhardt in the title role. Its reviews were not good; many critics denounced it for its lurid plot. Despite (or perhaps because of) this it rapidly became Sardou s most popular play. It is a melodramatic tale liberally laced with sex and sadism, and so a natural candidate for 4

5 TONIGHT S PROGRAMME transformation into an opera. Puccini had seen Bernhardt in the play in 1895, although he was not impressed with her performance. However, unlike the authors he had previously adapted, Sardou was still very much alive, and Puccini needed to obtain the rights to adapt the play. His publisher Ricordi managed to negotiate an agreement with Sardou. Unfortunately Puccini then heard that Sardou had expressed a dislike of his music and misgivings as to whether he was the best composer to adapt La Tosca. Piqued, Puccini withdrew from the project. He turned his attention to another play, Maeterlinck s Pelléas et Mélisande, but discovered that the rights had already been granted to Debussy. In the meantime, Ricordi had contracted Alberto Franchetti to compose Tosca, and Luigi Illica had begun work on a libretto. What happened next is a matter of dispute. Puccini apparently persuaded Franchetti that Tosca was a thoroughly unsuitable tale for an opera due to its unsavoury plot and emphasis on rape, murder and execution. The gullible Franchetti relinquished the project, and Ricordi promptly signed Puccini up to write it instead. However, some commentators assert that Franchetti had already tired of the project and relinquished it before Ricordi asked Puccini to take it on. Franchetti s own family, meanwhile, hold that he selflessly gave the project back to Puccini, recognising the greater talent. Having secured the work, the composition of Tosca proved to be one of the least problematic jobs of Puccini s career. The premiere in January 1900 was eventful: a bomb threat was made, which had to be taken seriously given that Queen Margherita had been invited. In the event there was no explosion, but the performance had to be restarted after an unruly group of latecomers were mistaken for anarchists. In the ensuing confusion the conductor, who had previously performed in a theatre where a bomb had in fact been detonated, panicked and fled. Once the conductor had been persuaded back the performance resumed, and the opera proved a popular success, notwithstanding the usual mixed reviews. Its place in the repertoire has been assured ever since. Puccini s gift for a memorable tune and ability to handle large set pieces is of course a factor in his popularity, but it is in his extraordinary attention to detail that the deeper key to Tosca s durability is to be found. Realism is inevitably a relative concept in opera, but Puccini took great pains to produce a credible evocation of the era and setting. He travelled to Rome to hear for himself the church bells that are evoked at the beginning of the final act, to ensure an accurate representation of how they would sound from the Castel Sant Angelo where the opera s denouement takes place. The melody of the famous Te Deum that closes Act 1 is an authentic period tune, while the cantata that Tosca is heard singing offstage at the start of Act 2 is a careful pastiche of Giovanni Paisiello, an 18th-century composer who had taught Puccini s grandfather and supported the Napoleonic regime in Naples. He also took issue with Sardou s suggestion that Tosca s final plunge to her death should end in the Tiber; the river, Puccini pointed out, was on the other side of the castle. 5

6 TONIGHT S PROGRAMME Synopsis It is June Italy at this time is not a unified nation but a collection of small states. Rome was the centre of a republic established by Napoleon in 1798, but after the French withdrawal from Rome and much of the rest of Italy in 1799, the Kingdom of Naples occupied the city. Napoleon s army has now returned to the country and engaged the Austrian Habsburgs (who occupy North-East Italy) in battle at Marengo, in Piedmont. Act 1. Inside the church of Sant Andrea della Valle in Rome, 1800 Cesare Angelotti, a former consul of Rome and a political prisoner, has escaped from the prison fortress of Castel Sant Angelo. He enters the church of Sant Andrea della Valle through a side door, and hides in the private chapel of the Attavanti family (his sister is the Marchesa Attavanti). Meanwhile, the painter Mario Cavaradossi is working on a portrait of Mary Magdalene in the church. Cavaradossi is a republican sympathiser and an old friend of Angelotti. He banters with an old Sacristan, and contrasts the blonde Magdalene with his dark-haired lover, the celebrated singer Floria Tosca. The Sacristan disapproves of such talk and leaves. Angelotti emerges and tells Cavaradossi that he is being pursued by the royalist police chief, Scarpia. Cavaradossi promises to help Angelotti, who then hurries back into hiding as Tosca arrives. She asks Cavaradossi supiciously what he is doing, and sings of her desire to take him home for a night of passion. She notices that the image of the Magdalene resembles the Marchesa and is jealous; Cavaradossi explains that he has simply observed the Marchesa at prayer in the church, and assures Tosca of his fidelity. She leaves, and Angelotti returns. He explains that he plans to flee disguised as a woman, wearing clothes that his sister has left in the chapel. Angelotti s escape has now been discovered and a cannon signal is heard from the fortress. As Angelotti and Cavaradossi leave, the Sacristan returns with choristers, celebrating reports that Napoleon has been defeated at Marengo. The mood changes abruptly as Scarpia enters. He questions the Sacristan and, when he hears that Cavaradossi has been in the church, he is suspicious. The painter must be helping Angelotti to escape, he reasons. Tosca returns, and Scarpia suggests to her that her lover is having an affair with the Marchesa, citing a fan discarded in the chapel as evidence that the couple must have been surprised. Tosca falls for the story and goes off enraged to find Cavaradossi. Scarpia orders his agents to follow her, and gloats as he sings of his intention to hang the painter and ravish his lover. A procession enters the church, singing the Te Deum; Scarpia adds his own desires to the prayer. Act 2. Scarpia s apartment in the Palazzo Farnese, that evening Scarpia is at supper. He sends a message to Tosca asking her to join him. His henchman Spoletta arrives and tells him that Cavaradossi has been captured; the painter is brought in and questioned. Meanwhile the voice of Tosca can be heard singing a cantata in celebration of the supposed victory. Cavaradossi denies any knowledge of Angelotti s whereabouts, and is taken off to be tortured. As he is taken off Tosca arrives and he snatches a moment with her, warning her to say nothing. Scarpia tells Tosca that she can save her lover from indescribable pain if she reveals where Angelotti is hiding. She resists, but Cavaradossi s cries prove too much and she tells Scarpia what he wants to know. 6

7 TONIGHT S PROGRAMME Cavaradossi is brought back. He recovers consciousness and is initially furious when he hears that Tosca has betrayed Angelotti. Then word arrives that Napoleon has in fact won the Battle of Marengo. Cavaradossi gives a defiant cry of Victory! before he is taken away. Scarpia offers a deal to Tosca: if she gives herself to him he will free Cavaradossi. She is revolted and rejects his advances. Outside the drums announce an imminent execution. She prays, but Scarpia is unmoved. News arrives that Angelotti killed himself on being discovered. Scarpia announces that Cavaradossi will die in the morning, but tells Tosca that if she submits to him he will fake the execution. In despair, Tosca agrees to Scarpia s demands, and he gives instruction to Spoletta, telling him that the execution will be by firing squad as we did with Count Palmieri. Spoletta indicates that he understands, and leaves. Tosca insists that Scarpia provide a document of safe conduct for her and Cavaradossi. Scarpia agrees, and signs the document. He draws close to embrace her, but she grabs a knife from the supper table and stabs him to death. She lights candles and places a crucifix on the body before leaving. Act 3. The upper parts of the Castel Sant Angelo, early the following morning As the church bells sound for Matins, a shepherd boy can be heard singing in the distance. Cavaradossi is told that he has one hour to live. He refuses an offer to see a priest, but is allowed to write a final letter. He is soon overwhelmed by memories of Tosca. Tosca enters, and shows him the guarantee of safe conduct. She tells him that she has killed Scarpia, that the execution will be faked, that he must feign death and that afterwards they will escape before the body is found. Cavaradossi marvels at Tosca s courage. They sing of the life they will have, although Tosca has her doubts that the painter will be able to fake his death convincingly. Cavaradossi is led away and Tosca waits impatiently as the last rites are carried out. Shots ring out, and Cavaradossi falls to the ground ( What an actor! exclaims Tosca). The soldiers leave, and Tosca hurries over. She discovers that Cavaradossi is dead; Scarpia has double-crossed her. Offstage voices reveal that Scarpia s body has been found, and that Tosca s guilt is known. Spoletta and the soldiers rush in, and Tosca climbs to a parapet. She declares that Scarpia will answer to God, and throws herself to her death Peter Nagle 7

8 ACT ONE The Church of Sant Andrea della Valle. On one side is the private chapel of the Attavanti family. On the other, there is a painter s scaffold beside a large painting covered with cloth. On it are painters tools and a basket. SCENE ONE Angelotti enters, nearly running. He is wearing prison clothes, and is dishevelled, tired, and shaking with fear. He looks around. Angelotti Ah! Finalmente! Nel terror mio stolto Ah! At last! In my stupid fear vedea ceffi di birro in ogni volto. I saw a policeman s jowl in every face. Recognising the church, he calms down and looks around more closely. He sighs with relief as he notices the column with a figure of the Madonna and a basin of holy water. La pila la colonna The basin the column «A piè della Madonna» At the base of the Madonna mi scrisse mia sorella my sister wrote to me Searching around at the base of the column, he finds a key. Ecco la chiave ed ecco la Cappella! Here s the key and here s the chapel! He carefully unlocks and opens the chapel and enters, closing the gate behind him and disappearing inside. SCENE TWO The Sacristan enters from the rear, carrying brushes, and muttering loudly to himself. Sagrestano E sempre lava! Forever washing! Ogni pennello è sozzo Every brush is dirty peggio d un collarin d uno scagnozzo. worse than an urchin s collar. Signor pittore Tò! Nessuno! Mister painter There! No one! He looks towards the painter s platform, and is surprised to see it empty. Avrei giurato che fosse ritornato il cavalier Cavaradossi. He puts the brushes down, climbs up, and looks at the basket. No, sbaglio. Il paniere è intatto. The bell sounds for the Angelus. He kneels and prays. Angelus Domini nuntiavit Mariae, et concepit de Spiritu Sancto. Ecce ancilla Domini; Fiat mihi secundum verbum tuum Et Verbum caro factum est et habitavit in nobis SCENE THREE Cavaradossi enters from the side and sees the Sacristan kneeling. Cavaradossi Che fai? Sagrestano Recito l Angelus. I would have sworn that the cavalier Cavaradossi had come back. No, I m mistaken. The basket has not been touched. The Angel of the Lord declared unto Mary, and she conceived of the Holy Spirit. Behold the handmaid of the Lord; Be it done unto me according to Thy word And the Word became flesh and dwelt among us What are you doing? Reciting the Angelus. 8

9 Cavardossi climbs onto the platform and uncovers the paining. It is of Mary Magdalene, depicted with great blue eyes and a cascade of blonde hair. He stands and looks at it closely. The Sacristan turns, and shouts out in astonishment when he sees the face. Sante ampolle! Il suo ritratto! Cavaradossi Di chi? Sagrestano Di quell ignota che i dì passati a pregar qui venìa tutta devota e pia. Cavaradossi È vero. E tanto ell era infervorata nella sua preghiera ch io ne pinsi, non visto, il bel sembiante. Sagrestano (Fuori, Satana, fuori!) Cavaradossi Dammi i colori! Holy vessels! Her picture! Whose? That girl who has these past days been coming here to pray with such devotion and piety. It is true. And so fervently absorbed was she in prayer that I could paint, unnoticed, her lovely face. (Away, Satan, away!) Give me the paints! The Sacristan passes him the paints, and Cavaradossi paints quickly, stopping often to look at his work. The Sacristan carries on washing brushes. Suddenly, Cavaradossi takes out a locket with a miniature portrait, and his eyes flit between it and his own work. Recondita armonia di bellezze diverse! È bruna, Floria, l ardente amante mia, Sagrestano (Scherza coi fanti e lascia stare i santi ) Cavaradossi e te, beltade ignota, cinta di chiome bionde! Tu azzurro hai l occhio Tosca ha l occhio nero! Sagrestano (Scherza coi fanti e lascia stare i santi!) Cavaradossi L arte nel suo mistero le diverse bellezze insiem confonde: ma nel ritrar costei il mio solo pensiero, ah! il mio sol pensier sei tu, Tosca, sei tu! Sagrestano (Queste diverse gonne che fanno concorrenza alle Madonne mandan tanfo d inferno. Scherza coi fanti e lascia stare i santi! Ma con quei cani di volterriani, nemici del santissimo governo, non c è da metter voce Scherza coi fanti e lascia stare i santi,) Oh hidden harmony of contrasting beauties! She is dark, Floria, my true love, (Jest with knaves and neglect the saints ) and you, unknown beauty, crowned with blonde locks! Your eyes are blue Tosca s are black! (Jest with knaves and neglect the saints!) Art in its mystery blends together contrasting beauties: but while painting that woman my sole thought, ah! my sole thought is you, Tosca, it s you! (These various women who compete with the Madonna give the stench of hell. Jest with knaves and neglect the saints! But to these revolutionary dogs, enemies of the holy government, we cannot give voice Jest with knaves and neglect the saints,) pointing to Cavaradossi (Già sono impenitenti tutti quanti! Facciam piuttosto il segno della croce.) (They are unrepentant the lot ot them! Let us rather make the sign of the cross.) 9

10 to Cavaradossi Eccellenza, vado. Cavaradossi Fa il tuo piacere! Cavaradossi goes back to his painting. The Sacristan points to the basket. Sagrestano Pieno è il paniere Fa penitenza? Cavaradossi Fame non ho. Excellency, I m going. Do as you wish! The basket s full Are you doing penance? I m not hungry. The Sacristan rubs his hands ironically, and smiles with glee as he looks at the full basket. He picks it up and places it to one side. Sagrestano Oh! mi rincresce! Badi, quand esce chiuda. Cavaradossi Va! Sagrestano Vo! The Sacristan exits. SCENE FOUR Oh! I m sorry! Make sure you close up when you leave. Go! I m going! Cavaradossi continues to paint with his back to the chapel. Angelotti reappears at its gate, and puts the key in the lock, believing the church to still be deserted. Cavaradossi turns at the creaking of the lock. Cavaradossi Gente là dentro! Someone in there! Angelotti is startled, and stops as though he is going to return to hiding, but he recognises Cavaradossi and almost cries out in joy. Smothering it, he raises his arms to the painter: an unexpected friend. Angelotti Voi! Cavaradossi! You! Cavaradossi! Vi manda Iddio! God himself has sent you! Cavaradossi does not recognise him and remains aloft. Angelotti moves closer, sad not to be recognised. Non mi ravvisate! Il carcere m ha dunque assai mutato! You don t recognise me! Prison then has greatly changed me! When Cavaradossi looks closely at Angelotti, he recognises him. He quickly drops his tools and comes down, looking about wanly as he goes up to Angelotti. Cavaradossi Angelotti! Il Console della spenta repubblica romana. He runs to close the door. Angelotti! The Consul of the extinguished Roman Republic. Angelotti Fuggii pur ora I have just escaped da Castel Sant Angelo from Castle Sant Angelo Cavaradossi Disponete di me! Tosca calls from outside. Tosca Mario! Mario! At her call, Cavaradossi motions to Angelotti to be quiet. Cavaradossi Celatevi! È una donna gelosa. Un breve istante e la rimando. Tosca Mario! Mario! I am at your service! Hide yourself! It s a jealous woman. One moment and I ll send her away. 10

11 Cavaradossi Eccomi! Here I am! Angelotti Sono stremo di forze, più non reggo I m out of strength, I can t stand Angelotti looks like he s going to collapse with weakness. Cavaradossi gets the basket from the platform and ushers Angelotti towards the chapel with it. Cavaradossi In questo panier v è cibo e vino! Angelotti Grazie! Thank you! Cavaradossi Presto! SCENE FIVE There s food and wine in this basket! Quickly! Tosca Mario! Mario! Cavaradossi Son qui! I am here! Cavaradossi opens the door, and Tosca rushes in dramatically, pushing him aside as he tries to hold her. She looks around suspiciously. Tosca Perché chiuso? Why was it locked? Cavaradossi Lo vuole il Sagrestano The Sacristan s wish Tosca A chi parlavi? Who were you talking to? Cavaradossi A te! To you! Tosca Altre parole bisbigliavi. You were whispering other words. Ov è? Where is she? Cavaradossi Chi? Who? Tosca Colei! Quella donna! Her! That woman! Ho udito i lesti passi I heard her quick steps e un fruscìo di vesti and a rustling of clothes Cavaradossi Sogni! You re dreaming! Tosca Lo neghi? Do you deny it? Cavaradossi tries to kiss her. Cavaradossi Lo nego e t amo! I deny it and I love you! Tosca Oh! innanzi alla Madonna Oh! before the Madonna No, Mario mio, No, my Mario, lascia pria che la preghi, che l infiori first let me pray, and place these flowers Tosca goes to the statue of the Madonna and arranges the flowers she has brought, then kneels to pray. Finally, she rises to address Cavaradossi, who is working again. Cavaradossi Stasera?! Ora stammi a sentir stasera canto, ma è spettacolo breve. Tu m aspetti sull uscio della scena e alla tua villa andiam soli, soletti. Now listen tonight I am singing, but it s a short show. Wait for me at the stage door and we ll go alone together to your villa. Tonight?! Tosca È luna piena It is the full moon e il notturno effluvio floreal and the nocturnal perfume of flowers inebria il cor. Non sei contento? makes the heart drunk. Aren t you happy? 11

12 She sits on the steps near to him. Cavaradossi however remains somewhat distracted, and sounds it. Cavaradossi Tanto! So happy! Tosca Tornalo a dir! Say it again! Cavaradossi Tanto! So happy! Tosca Lo dici male: You say it poorly: She climbs and sits next to him. non la sospiri la nostra casetta che tutta ascosa nel verde ci aspetta? nido a noi sacro, ignoto al mondo inter, pien d amore e di mister? Al tuo fianco sentire per le silenziose stellate ombre, salir le voci delle cose! Dai boschi e dai roveti, dall arse erbe, dall imo dei franti sepolcreti odorosi di timo, la notte escon bisbigli di minuscoli amori e perfidi consigli che ammolliscono i cuori. Fiorite, o campi immensi, palpitate aure marine nel lunare albor, ah piovete voluttà, volte stellate! Arde in Tosca un folle amor! do you not dream of our small house that waits for us in the country? a nest sacred to us, unknown to the world, full of love and mystery? At your side to listen as through the starlit silence, rise the voices of the night! From the woods and from the thickets, from the dry grass, from the depths of shattered tombs scented with thyme, the night exudes whispers of tiny loves and false counsels that seduce the heart. Blossom, O wide fields, sea winds throb in the moon s radiance, ah rain down desire, you vaulted stars! Tosca burns with a mad love! She rests her head on his shoulder. Cavaradossi Ah! M avvinci ne tuoi lacci Ah! 1 am caught in your snares mia sirena, my siren, Tosca Arde a Tosca nel sangue il folle amor! Tosca s blood boils with a mad love! Cavaradossi mia sirena, verrò! my siren, I will come! Or lasciami al lavoro. But now let me work. Tosca Mi discacci? You dismiss me? Cavaradossi Urge l opra, lo sai! My work is pressing, you know that! Tosca Vado! I am going! She steps away, then turning to look at him, she sees the painting and becomes agitated. Chi è quella donna bionda lassù? Who is that blonde woman there? Cavaradossi La Maddalena. Ti piace? Mary Magdalene. Do you like her? Tosca È troppo bella! She is too beautiful! Cavaradossi Prezioso elogio! Rare praise! Tosca Ridi? You laugh? 12

13 Quegli occhi cilestrini già li vidi Cavaradossi Ce n è tanti pel mondo! Tosca Aspetta Aspetta Wait Wait She jumps up onto the platform in triumph. È l Attavanti! Cavaradossi Brava! I have seen those sky-blue eyes before There are so many in the world! It s Attavanti! Brava! Tosca La vedi? T ama? Are you seeing her? Does she love you? Tu l ami? Do you love her? She cries, and Cavaradossi tries to calm her. Cavaradossi Fu puro caso By pure chance Tosca Quei passi e quel bisbiglio Those steps and whispers Ah! Qui stava pur ora! Ah! She was here just now! Cavaradossi Vien via! Come away! Tosca Ah, la civetta! Ah, the shameless flirt! A me! To me! Cavaradossi La vidi ieri, ma fu puro caso A pregar qui venne non visto la ritrassi Tosca Giura! Swear! Cavaradossi Giuro! I saw her yesterday, but by pure chance She came here to pray unnoticed I painted her I swear! Tosca Come mi guarda fiso! How intently she stares at me! They climb down, Cavardossi holding her hands high. Cavaradossi Vien via! Come away! Tosca Di me, beffarda, ride. She talks to me, mocking, laughing. Cavaradossi Follia! Foolishness! Tosca Ah, quegli occhi! Ah, those eyes! Cavaradossi Qual occhio al mondo può star di paro all ardente occhio tuo nero? È qui che l esser mio s affisa intero occhio all amor soave, all ira fiero qual altro al mondo può star di paro all occhio tuo nero? What eyes in the world can compare with your burning black ones? It is they that hold my whole being eyes soft with love, proud with anger what others in the world can compare with your black eyes? Tosca Oh, come la sai bene Oh, how well you know l arte di farti amare! the art of making me love you! Cavaradossi Mia gelosa! Ma falle gli occhi neri! But let her eyes be black! My jealous one! Tosca Sì, lo sento ti tormento Yes, I feel it I torment you senza posa. without rest. 13

14 Cavaradossi Mia gelosa! My jealous one! Tosca Certa sono del perdono, I know you would forgive me, se tu guardi al mio dolor! if you knew my grief! Cavaradossi Mia Tosca idolatrata, ogni cosa in te mi piace; l ira audace e lo spasimo d amor! My idol Tosca, all things in you delight me; your storming anger and your pulsing love! Tosca Dilla ancora Say again la parola che consola those consoling words dilla ancora! say them again! Cavaradossi Mia vita, amante inquieta, dirò sempre: «Floria, t amo!» Ah! l alma acquieta, sempre «t amo!» ti dirò! Tosca moves away in case she is won over completely. My life, my troubled love, I shall always say: I love you, Floria! Ah! set your soul at rest, I shall always tell you I love you! Tosca Dio! quante peccata! Heavens! what a sin! M hai tutta spettinata! You have undone my hair! Cavaradossi Or va, lasciami! Now go, leave me! Tosca Tu fino a stassera You stay at your work stai fermo al lavoro. E mi prometti: until this evening. And promise me: sia caso o fortuna, whether by chance or fortune, sia treccia bionda o bruna, whether blonde or dark, a pregar non verrà donna nessuna! no woman shall come here to pray! Cavaradossi Lo giuro, amore! Va! I swear it, beloved! Go! Tosca Quanto m affretti! How you hurry me! Cavaradossi Ancora? Again? Tosca No perdona! No forgive me! Cavaradossi Davanti alla Madonna? Before the Madonna? Tosca È tanto buona! She is so good! They kiss, but as she heads for the exit, she turns. SCENE SIX Ma falle gli occhi neri! But let her eyes be black! Tosca leaves quickly. Cavaradossi remains, thoughtful, and opens the gate for Angelotti, who has heard everything. Cavaradossi È buona la mia Tosca, ma credente al confessor nulla tiene celato, ond io mi tacqui. È cosa più prudente. Angelotti Siam soli? Are we alone? Cavaradossi Sì. Qual è il vostro disegno? She is good my Tosca, but trusting her confessor she hides nothing, so I must say nothing. It is wiser so. Yes. What is your plan? Angelotti A norma degli eventi, uscir di Stato As things stand now, to flee the State o star celato in Roma Mia sorella or stay in hiding in Rome My sister 14

15 Cavaradossi L Attavanti? Attavanti? Angelotti Sì, ascose un muliebre Yes, she hid some women s abbigliamento là sotto l altare garments there under the altar vesti, velo, ventaglio clothes, a veil, a fan Appena imbruni indosserò quei panni When it gets dark I ll put them on Cavaradossi Or comprendo! Quel fare circospetto e il pregante fervore in giovin donna e bella m avean messo in sospetto di qualche occulto amor! Or comprendo! Era amor di sorella! Now I understand! That prudent behaviour and that fervent prayer in so young and beautitul a woman had made me suspect some secret love! Now I understand! It was the love of a sister! Angelotti Tutto ella ha osato She has dared all onde sottrarmi a Scarpia, scellerato! to get me away from Scarpia, the villain! Cavaradossi Scarpia?! Bigotto satiro che affina colle devote pratiche la foia libertina e strumento al lascivo talento fa il confessore e il boia! La vita mi costasse, vi salverò! Ma indugiar fino a notte è mal sicuro Scarpia?! That bigoted satyr who refines through devout practice his libertine lust and makes the confessor and the hangman instruments of his wantonness! Should it cost my life, I ll save you! But delaying until nightfall is not safe Angelotti Temo del sole! I fear the sunlight! Cavaradossi La cappella mette a un orto mal chiuso, poi c è un canneto che va lungi pei campi a una mia villa Angelotti M è nota I know it Cavaradossi Ecco la chiave innanzi sera io vi raggiungo, portate con voi le vesti femminili Angelotti takes the clothes from under the altar. The chapel gives onto an open garden, then there is a canefield that goes far through fields to my villa Here is the key before evening I shall join you there, take the woman s costume with you Angelotti Ch io le indossi? Should I put them on? Cavaradossi Per or non monta, il sentiero è deserto Angelotti Addio! Goodbye! For now no need, the path s deserted Cavaradossi runs towards him. Cavaradossi Se urgesse il periglio, correte al pozzo del giardin. L acqua è nel fondo, ma a mezzo della canna, un picciol varco guida ad un antro oscuro, rifugio impenetrabile e sicuro! If there s sign of danger, go to the garden well. There s water at the bottom, but half-way down, a little passage leads to a dark room, a safe and impenetrable hiding place! There is the sound of a cannon being fired, and the two men look at each other, alarmed. Angelotti Il cannon del castello! The castle cannon! 15

16 Cavaradossi Fu scoperta la fuga! They ve discovered your escape! Or Scarpia i suoi sbirri sguinzaglia! Now Scarpia lets loose his pack of spies! Angelotti Addio! Goodbye! Cavaradossi Con voi verrò. I will go with you. Staremo all erta! We must be on our guard! Angelotti Odo qualcun! I hear someone! Cavaradossi Se ci assalgon, battaglia! If we re attacked, we fight! They leave quickly through the Chapel. SCENE SEVEN The Sacristan runs in, shouting. Sagrestano Sommo giubilo, Eccellenza! He looks towards the platform, and is surprised again not to find Cavaradossi. Non c è più! Ne son dolente! Chi contrista un miscredente si guadagna un indulgenza! The priests, pupils and singers of the Chapel rush in from every direction. Tutta qui la cantoria! Presto! Joyful news, Excellency! He s gone! I am sorry! He who aggrieves an unbeliever earns an indulgence! The whole choir is here! Hurry! As the final pupils arrive, they all gather together. Chorus Dove? Where? Sagrestano In sagrestia In the sacristy Chorus Ma che avvenne? But what s happened? Sagrestano Nol sapete? You haven t heard? Bonaparte scellerato Bonaparte the scoundrel Bonaparte Bonaparte Chorus Ebben? Che fu? Well? What has happened? Sagrestano Fu spennato, sfracellato He was plucked, smashed e piombato a Belzebù! and descended to Beelzebub! Chorus Chi lo dice? È sogno! È fola! Who says so? It s a dream! It s nonsense! Sagrestano È veridica parola Its a true report or ne giunse la notizia! the news just reached us. Chorus Si festeggi la vittoria! Let s celebrate the victory! Sagrestano E questa sera And tonight gran fiaccolata, a mighty torch procession, veglia di gala a Palazzo Farnese, a gala evening at Farnese Palace, ed un apposita nuova cantata and a fitting new cantata con Floria Tosca! with Floria Tosca! E nelle chiese And in the churches inni al Signor! hymns to the Lord! 16

17 Or via a vestirvi, Now get along and dress, non più clamor! no more shouting! Via via in sagrestia! Go go into the sacristy! Chorus Doppio soldo Te Deum Gloria! Double pay Te Deum Gloria! Viva il Re! Long live the King! Si festeggi la vittoria! Let s celebrate the victory! SCENE EIGHT When their festivities are at their height, Scarpia s voice cuts through the uproar. He is accompanied by Spoletta and several policemen. Scarpia Un tal baccano in chiesa! Bel rispetto! Such a hubbub in church! A fine respect! Sagrestano Eccellenza, il gran giubilo Excellency, the joyous news Scarpia Apprestate per il Te Deum. Prepare for the Te Deum. They all depart. Even the Sacristan tries to slip out, but Scarpia stops him. Tu resta! Sagrestano Non mi muovo! You stay here! I m not moving! Scarpia to Spoletta E tu va, fruga ogni angolo, And you go, search every corner, raccogli ogni traccia gather every clue. Spoletta Sta bene! Very well! Scarpia to the other policemen Occhio alle porte, senza dar sospetti! Keep watch at the doors, without arousing suspicion! to the Sacristan Ora a te! Pesa le tue risposte. Un prigionier di stato fuggì pur ora da Castel Sant Angelo s è rifugiato qui Sagrestano Misericordia! Now for you! Weigh your answers well. A prisoner of state has just escaped from Castel Sant Angelo he took refuge here Heaven help us! Scarpia Forse c è ancora. He may still be here. Dov è la Cappella degli Attavanti? Where is the Chapel of the Attavanti? Sagrestano Eccola. Aperta! Arcangeli! E un altra chiave! That is it there. It s open! Archangels! And there s another key! Scarpia Buon indizio Entriamo. A good sign Let s go in. They enter the Chapel and then return. Scarpia holds a fan, which he shakes nervously. Fu grave sbaglio quel colpo di cannone! Il mariolo spiccato ha il volo, ma lasciò una preda preziosa un ventaglio. Qual complice il misfatto preparò! Examining the fan, he suddenly sees the coat of arms. It was a bad mistake that cannon shot! The scoundrel has flown, but left behind a clue a valuable one a fan. What accomplice arranged this misdeed! 17

18 La marchesa Attavanti! Il suo stemma The Marchesa Attavanti! Her crest He looks around the church, and recognises the familiar features of the Marchesa in the face of Mary Magdalene. Il suo ritratto! to the Sacristan Chi fe quelle pitture? Sagrestano Il cavalier Cavaradossi Scarpia Lui! Him! A policemen returns from the Chapel with the basket. Sagrestano Numi! Il paniere! Her portrait! Who painted that picture? The cavalier Cavaradossi Heavens! The basket! Scarpia Lui! L amante di Tosca! Him! Tosca s lover! Un uom sospetto! A suspect character! Un volterrian! A revolutionary! Sagrestano Vuoto? Vuoto! Empty? Empty! Scarpia Che hai detto? What did you say? Che fu? What s happened? Sagrestano Si ritrovò nella cappella questo panier. They found this basket in the chapel. Scarpia Tu lo conosci? Have you seen it before? Sagrestano Certo! È il cesto del pittor ma nondimeno Yes! It s the painter s basket but even so Scarpia Sputa quello che sai. Spit out what you know. Sagrestano Io lo lasciai ripieno di cibo prelibato il pranzo del pittor! I left it for him filled with delicious food the painter s meal! Scarpia Avrà pranzato! He must have eaten! Sagrestano Nella cappella? Non ne avea la chiave nè contava pranzar disse egli stesso. Ond io l avea già messo al riparo. (Libera me Domine!) In the chapel? He had no key nor did he want to eat he said so himself. So I put the basket somewhere safe. (Deliver me Lord!) Scarpia (Or tutto è chiaro (Now all is clear la provvista del sacrista the sacristan s food d Angelotti fu la preda!) became Angelotti s prize!) He sees Tosca entering in a hurry. Tosca? Che non mi veda. Tosca? She must not see me. He hides behind a column. 18

19 SCENE NINE (Per ridurre un geloso allo sbaraglio Jago ebbe un fazzoletto ed io un ventaglio! ) Tosca runs towards the platform to find Cavaradossi, and is surprised not to see him there. Tosca Mario?! Mario?! Mario?! Mario?! Sagrestano Il pittor Cavaradossi? Chi sa dove sia? Svanì, sgattaiolò per sua stregoneria. (To drive a jealous lover to distraction Iago had a handkerchief and I a fan! ) The painter Cavaradossi? Who knows where he is? He s vanished, evaporated by his own wizardry. Tosca Ingannata? No Deceived? No tradirmi egli non può! he could not betray me! Scarpia steps out and approaches the astonished Tosca. He dips his hand in the Holy Water and offers it to her as, outside, bells summon the faithful. Scarpia Tosca la mano mia Tosca my hand la vostra aspetta, piccola manina, awaits yours, your delicate hand, non per galanteria, not out of gallantry, ma per offrirvi l acqua benedetta but to offer holy water Tosca touches Scarpia s hand and crosses herself. Tosca Grazie, signor! Thank you, sir! Slowly the nave fills with people of all kinds. Scarpia Un nobile esempio è il vostro. A noble example is yours. Al cielo piena di santo zelo Full to the heavens with holy zeal attingete dell arte il magistero you show a mastery of art che la fede ravviva! that restore one s faith! Tosca distraught and preoccupied Bontà vostra You are too kind Scarpia Le pie donne son rare Pious women are so rare Voi calcate la scena You are on the stage E in chiesa ci venite per pregar. Yet you come to church to pray. Tosca Che intendete? What do you mean? Scarpia E non fate come certe And you don t behave like some sfrontate impudent women pointing to the portrait che han di Maddalena viso e costumi e vi trescan d amore! who have Mary Magdalene s face and clothes and come plotting love! Tosca reacts immediately, and Scarpia shows her the fan. Tosca Che? D amore? Le prove! What? Love? Your proof! Scarpia È arnese da pittore questo? Is this a painter s tool? Tosca Un ventaglio? Dove stava? A fan? Where was it? 19

20 Scarpia Là su quei palco. Qualcun venne There on that platform. Someone came certo a sturbar gli amanti surely and disturbed the lovers ed essa nel fuggir perdè le penne! and in her flight she lost her feathers! Tosca La corona! Lo stemma! È l Attavanti! The crown! The crest! It s Attavanti s! Presago sospetto! Prophetic doubt! Scarpia (Ho sortito l effetto!) (I ve hit the mark!) Tosca Ed io venivo a lui tutta dogliosa And I came here to him doleful per dirgli: invan stassera to tell him: in vain tonight il ciel s infosca the sky will darken l innamorata Tosca the lovesick Tosca è prigioniera dei regali tripudi! is a prisoner of the royal celebrations! Scarpia (Già il veleno l ha rosa!) (Already the venom has reddened her!) O che v offende, dolce signora? Una ribelle lacrima scende sovra le belle guancie e le irrora; dolce signora, che mai v accora? Tosca Nulla! Nothing! Oh what troubles you, sweet lady? A wayward tear runs down your fair cheek and moistens it; sweet lady, whatever grieves you? Scarpia Darei la vita I would give my life per asciugar quel pianto. to wipe away those tears. Tosca Io qui mi struggo e intanto Here I pine while he d altra in braccio le mie smanie deride! in another s arms mocks at my anguish! Scarpia (Morde il veleno.) (The poison bites.) Tosca Dove son? Potessi Where are they? Could I coglierli i traditori. but catch the traitors. Oh qual sospetto! Oh what suspicion! Ai doppi amori è la villa ricetto! The two loves have fled to the villa! Traditor! Traitor! Oh mio bel nido insozzato di fango! Vi piomberò inattesa! Tu non l avrai stasera. Giuro! Scarpia In chiesa! In church! Oh my fair nest sullied with mud! I ll descend on them unexpected! You will not have him tonight. I swear it! Tosca Dio mi perdona Egli vede ch io piango! God pardons me He sees me weeping! Tosca leaves in distress with Scarpia pretending to comfort her. As she leaves, he returns and signals to Spoletta, who emerges. Scarpia Tre sbirri Una carrozza Three men A carriage Presto seguila Quick follow dovunque vada non visto provvedi! wherever she goes unseen take care! Spoletta Sta bene. Il convegno? Yes sir. Where do we meet? Scarpia Palazzo Farnese! Farnese Palace! Spoletta hurries out with three policemen. Va, Tosca! Nel tuo cuor s annida Scarpia! È Scarpia che scioglie a volo Go, Tosca! In your heart Scarpia builds a nest! It is Scarpia who lets fly 20

21 il falco della tua gelosia. Quanta promessa nel tuo pronto sospetto! the falcon of your jealousy. Such assurance in your quick suspicions! Scarpia kneels and prays as the Cardinal passes. Chorus Adjutorum nostrum in nomine Domini Our help is in the name of the Lord Qui fecit cœlum et terram Who made heaven and earth Sit nomen Domini benedictum Blessed be the name of the Lord Et hoc nunc et usque in saeculum. Both now and forever. Scarpia A doppia mira A double target tendo il voler, nè il capo del ribelle is now in my sights, nor is the rebel s head è la più preziosa. Ah di quegli the bigger prize. Ah in those occhi vittoriosi veder la fiamma imperious eyes to see the flame illanguidir con spasimo d amor. grow languid with spasms of love. L uno al capestro, One for the rope, l altra fra le mie braccia the other for my arms Chorus Te Deum laudamus: O God we praise Thee: te Dominum confitemur! we acknowledge Thee to be the Lord. At the chant from the back of the church Scarpia starts, as though from a dream. Gathering himself, he makes the sign of the cross, then kneels and prays devoutly. Scarpia Tosca, mi fai dimenticare Iddio! Tosca, you make me forget God himself! Tutti Te æternum Patrem Everlasting Father omnis terra veneratur! all the earth worships Thee! 21

22 ACT TWO Scarpia s apartment on an upper floor of the Farnese Palace, at night. There is a table set for supper. A wide window opens on the palace courtyard. Scarpia is at the table eating supper, stopping occasionally to reflect. He is cross and preoccupied. SCENE ONE Scarpia Tosca è un buon falco! Tosca is a good falcon! Certo a quest ora Surely by this time i miei segugi le due prede azzannano! my hounds have caught their double prey! Doman sul palco Tomorrow on the scaffold vedrà l aurora the dawn will see Angelotti e il bel Mario Angelotti and the fine Mario al laccio pendere. hanging from a noose. He rings a bell and Sciarrone enters. Tosca è a palazzo? Is Tosca in the palace? Sciarrone Un ciambellan ne uscia A chamberlain has gone pur ora in traccia just now to find her Scarpia pointing to the window Apri. Tarda è la notte Open it. The night is late An orchestra is heard from below, where the Queen of Naples is giving a party in honour of Melas. Alla cantata ancor manca la Diva, The Diva is still missing from the cantata, e strimpellan gavotte. and they strum gavottes. Tu attenderai la Tosca in sull entrata; You will wait for Tosca at the entrance: le dirai ch io l aspetto tell her that I will expect her finita la cantata at the end of the concert o meglio or better He writes a note. le darai questo biglietto. Sciarrone leaves. Scarpia returns to the table. Ella verrà per amor del suo Mario! Per amor del suo Mario al piacer mio s arrenderà. Tal dei profondi amori è la profonda miseria. Ha più forte sapore la conquista violenta che il mellifluo consenso. Io di sospiri e di lattiginose albe lunari poco m appago. Non so trarre accordi di chitarra, nè oròscopo di fior né far l occhio di pesce, o tubar come tortora! Bramo. La cosa bramata perseguo, me ne sazio e via la getto volto a nuova esca. Dio creò diverse beltà e vini diversi Io vo give her this note. She will come for love of her Mario! For love of her Mario to my pleasure she will yield. From such profound love comes profound misery. There s a stronger flavour to violent conquest than to soft surrender. For sighs and for milky moonrises I don t much care. I don t know how to draw harmony from guitars, nor horoscopes from flowers nor how to look wide-eyed, or to coo like a turtle dove! I crave. I pursue the craved thing, sate myself and cast it by seek new bait. God made diverse beauties and diverse wines I mean to 22

23 gustar quanto più posso dell opra divina! taste as many as possible of these divine works. He drinks. Sciarrone returns. Sciarrone Spoletta è giunto. Spoletta s arrived. Scarpia Entri. In buon punto! Show him in. In good time! Sciarrone leaves to fetch Spoletta. SCENE TWO Spoletta enters, and Scarpia questions him without looking up. Scarpia O galantuomo, com andò la caccia? My fine man, how did the hunt go? Spoletta (Sant Ignazio m aiuta!) (Saint Ignatius help me!) Della signora seguimmo la traccia. We kept on the lady s trail. Giunti a un erma villetta She came to a lonely villa tra le fratte perduta lost in the woods ella v entrò. N escì sola ben presto. she entered. She quickly came out alone. Allor scavalco lesto At once I vaulted over il muro del giardin coi miei cagnotti the garden wall with my dogs e piombo in casa and burst into the house Scarpia Quel bravo Spoletta! Bravo Spoletta! Spoletta hesitates. Spoletta Fiuto! razzolo! I sniffed! I scratched! frugo! I rummaged! Scarpia senses his hesitancy, and jumps up pale with rage. Scarpia Ahi! l Angelotti? Ahi! Angelotti? Spoletta Non s è trovato! Not to be found! Scarpia Ah cane! Ah traditore! Ah dog! Ah traitor! Ceffo di basilisco, Snout of a snake, alle forche! to the gallows! Spoletta Gesù! Jesus! trying to appease him C era il pittor The painter was there Scarpia Cavaradossi? Cavaradossi? Spoletta Ei sa dove l altro s asconde And he knows where the other is hiding Ogni suo gesto In every gesture ogni accento, tradìa every word, he showed tal beffarda ironia, such taunting irony, ch io lo trassi in arresto! that I placed him under arrest! Scarpia Meno male! Not so bad! Spoletta Egli è là. He is there. Scarpia paces, pondering. As he hears the choral cantata from the Queen s apartment, he stops. 23

24 Tosca, choir Sale, ascende l uman cantico varca spazi, varca cieli, per ignoti soli empirei, profetati dai Vangeli, a te giunge o re dei re, Questo canto voli a te. A te quest inno di gloria voli sommo Iddio della vittoria. Dio che fosti innanzi ai secoli, alle cantiche degli angeli quest inno di gloria, Or voli a te! Sale, ascende l uman cantico varca spazi, varca cèli, a te giunge o re dei re! Mankind s song leaps, soars across space, across the heavens, past unknown fiery stars, prophesied by the Gospels, it comes to you O King of Kings, This song flies to you. To you this hymn of glorious flights almighty God of victory. God who was before the centuries, with the canticles of the angels this hymn of glory, Now rises to you! Mankind s song leaps, soars across space, across the heavens, it comes to you O King of Kings! Scarpia Introducete il Cavaliere. Bring in the Cavalier. A me Roberti e il Giudice del Fisco. Fetch me Roberti and the Judge. Exit Sciarrone. SCENE THREE Scarpia sits down again. Spoletta and four bailiffs bring in Cavaradossi; then Roberti, the executioner, the Judge and Sciarrone enter. Cavaradossi Tal violenza! Such violence! Scarpia Cavalier, vi piaccia accomodarvi Cavalier, please be seated Cavaradossi Vo saper I want to know Scarpia Sedete Be seated Cavaradossi Aspetto. I ll stand. Scarpia E sia! As you wish! V è noto che un prigione Are you aware that a prisoner Tosca s voice is heard through the window. Cavaradossi La sua voce! Her voice! Scarpia v è noto che un prigione you are aware that a prisoner oggi è fuggito da Castel Sant Angelo? escaped today from Sant Angelo Castle? Cavaradossi Ignoro. I didn t know. Scarpia Eppur si pretende Howvere it is reported che voi l abbiate accolto in Sant Andrea, that you sheltered him in Sant Andrea, provvisto di cibo e di vesti gave him food and clothing Cavaradossi Menzogna! Scarpia e guidato and took him ad un vostro podere suburbano to a suburban place of yours Cavaradossi Nego. Le prove? Lies! I deny it. Your proof? Scarpia Un suddito fedele A faithful servant 24

25 Cavaradossi Al fatto. Chi m accusa? I vostri birri invan frugar la villa. To the facts. Who is my accuser? In vain your spies ransacked my villa. Scarpia Segno che è ben celato. Proof that he is hidden well. Cavaradossi Sospetti di spia! Suspicions of a spy! Spoletta Alle nostre ricerche egli rideva He laughed at our questions Cavaradossi E rido ancor. And I laugh still. Scarpia Questo è luogo di lacrime! This is a place for tears! Badate! Beware! Or basta! Rispondete! Enough now! Answer me! Scarpia rises angrily and closes the window to shut out the singing. Ov è Angelotti? Cavaradossi Non lo so. Where is Angelotti? I don t know. Scarpia Negate avergli dato cibo? You deny you gave him food? Cavaradossi Nego! I deny it! Scarpia E vesti? And clothes? Cavaradossi Nego! I deny it! Scarpia E asilo nella villa? And refuge in your villa? E che là sia nascosto? And that he is hidden there? Cavaradossi Nego! I deny it! Scarpia Via, Cavaliere, riflettete: Come, Cavalier, you must reflect: saggia non è cotesta ostinatezza vostra. this stubborness of yours is not wise. Angoscia grande, pronta confessione eviterà! A prompt confession will save great pain! Io vi consiglio, dite: I advise you, tell me: dov è dunque Angelotti? where then is Angelotti? Cavaradossi Non lo so. I don t know. Scarpia Ancor, Again, l ultima volta: Dov è? for the last time: Where is he? Cavaradossi Nol so! I don t know. Spoletta (O bei tratti di corda!) (Oh for a good whipping!) SCENE FOUR Tosca enters, out of breath. Scarpia (Eccola!) (Here she is!) Tosca Mario, tu qui?! Mario, you, here?! Cavaradossi (Di quanto là vedesti, taci, o m uccidi!) Tosca nods. (Of what you saw there, say nothing, or you will kill me!) Scarpia Mario Cavaradossi, Mario Cavaradossi, qual testimone il Giudice v aspetta. the Judge awaits your testimony. 25

26 to Roberti Pria le forme ordinarie Indi ai miei cenni First the usual formalities And then as I shall order Sciarrone opens the door and leads everyone to the torture chamber, leaving just Tosca and Scarpia alone together. Scarpia Ed or fra noi parliam da buoni amici. And now let s talk like good friends. Via quell aria sgomentata Come now don t look so frightened He indicates to Tosca to sit down. Tosca Sgomento alcun non ho I have no fears Scarpia La storia del ventaglio? What about the fan? He passes behind the couch where Tosca sits and leans upon it, adopting an air of gallantry. Tosca Fu sciocca gelosia That was foolish jealousy Scarpia L Attavanti non era dunque alla villa? So the Attavanti was not at the villa? Tosca No: egli era solo. No: he was alone. Scarpia Solo? Alone? Ne siete ben sicura? Are you quite sure? Tosca Nulla sfugge ai gelosi. Nothing escapes a jealous eye. Solo! Alone! He sits on a chair in front of Tosca and studies her face. Scarpia Davver?! Indeed?! Tosca Solo! sì! Alone! yes! Scarpia Quanto fuoco! How you protest! Par che abbiate paura di tradirvi. Perhaps you fear you may betray yourself. Sciarrone: che dice il Cavalier? Sciarrone: what does the Cavalier say? Sciarrone Nega. He denies everything. Scarpia Insistiamo. We shall insist. Sciarrone leaves, closing the door. Tosca laughs. Tosca Oh! è inutil! Oh! it s useless! Scarpia Lo vedremo, signora. We shall see, Madam. Tosca Dunque per compiacervi, si dovrebbe mentir? It seems that to please you, one must lie? Scarpia No: ma il vero potrebbe abbreviargli No: but the truth might shorten un ora assai penosa an extremely painful hour for him Tosca Un ora penosa? Che vuol dir? A painful hour? What do you mean? Che avviene in quella stanza? What are you doing in that room? Scarpia È forza che s adempia la legge. It is force that carries out the law. Tosca Oh! Dio! che avvien?!! Oh! God! what s happening?!! Scarpia Legato mani e piè Bound hand and foot il vostro amante ha un cerchio uncinato your lover has a ring of hooked iron alle tempia, at his temples, 26

27 che ad ogni niego ne sprizza sangue senza mercè! that at every denial make his blood spurt without mercy! Tosca jumps up. Tosca Non è ver! It isn t true! Sogghigno di demone Leering demon Cavaradossi lets out a long groan. Tosca Un gemito? Pietà! A groan? Pity! Scarpia Sta in voi salvarlo. It is up to you to save him. Tosca Ebben ma cesate! Very well but stop this! Scarpia Sciarrone, sciogliete! Stop it, Sciarrone! Sciarrone Tutto? Everything? Scarpia Tutto. Everything. Sciarrone returns to the chamber. Ed or la verità And now the truth Tosca Ch io lo veda! Let me see him! Scarpia No! No! Tosca gets near to the door. Tosca Mario! Mario! Cavaradossi Tosca! Tosca! Tosca Ti straziano ancora? Are they still torturing you? Cavaradossi No coraggio Taci! Sprezzo il dolor! No courage Be silent! I scorn the pain! Scarpia Orsù, Tosca, parlate. Come now, Tosca, speak. Tosca Non so nulla! I know nothing! Scarpia Non vale quella prova? Wasn t that enough for you? Roberti, ripigliamo Roberti, start again Tosca throws herself between Roberti and the door. Tosca No! fermate! No! stop! Scarpia Voi parlerete? Will you speak? Tosca No! Ah! mostro! lo strazi, No! Ah! monster! you re hurting him, ah! l uccidi! ah! you re killing him! Scarpia Lo strazia quel vostro silenzio assai più! You hurt him even more by your silence! Tosca Tu ridi You laugh all orrida pena? at this ghastly torment? Scarpia Mai Tosca alla scena Tosca on the stage più tragica fu! was never more tragic! 27

28 Aprite le porte che n oda i lamenti! Open the door so she can hear his suffering! Spoletta opens the door and stands in the doorway. Cavaradossi Vi sfido! I defy you! Scarpia Più forte! Harder! Cavaradossi Vi sfido! Scarpia to Tosca Parlate I defy you! Speak now Tosca Che dire? What can I say? Scarpia Su, via! Come, now! Tosca Ah! non so nulla! Ah! I know nothing! dovrei mentir? must I lie? Scarpia Dite dov è Angelotti? parlate Tell me where is Angelotti? speak up su, via, dove celato sta? now, come, where s he hiding? Tosca No! Ah! Più non posso! No! Ah! I can stand no more! Ah! che orror! Ah! what horror! Ah! cessate il martir! Ah! stop this torture! è troppo soffrir! it s too much to bear! Cavaradossi Ahimè! Tosca appeals to Scarpia, who signals to Spoletta to let her come to the open door where she is overwhelmed by the terrible scene within. She cries out in anguish. Tosca Mario, consenti ch io parli? Mario, will you let me speak? Cavaradossi No! Tosca Ascolta, non posso più Listen, I can bear no more Cavaradossi Stolta, che sai? che puoi dir? Ah! No! Fool, what do you know? what can you say? Scarpia to Spoletta Ma fatelo tacere! Shut him up! Tosca is overcome and falls, prostrate on the sofa. Sobbing,, she appeals to Scarpia, who stands impassive. Spoletta, meanwhile, prays under his breath. Tosca Che v ho fatto in vita mia?! What have I done to you in my life?! Son io che così torturate! It is I you torture so! Torturate l anima You torture my spirit sì, l anima mi torturate! yes, my spirit you are torturing! Spoletta Judex ergo cum sedebit When the Judge takes his place Quidquid latet apparebit What is hidden will be revealed Nil inultum remanebit! Nothing will remain unavenged! Scarpia orders the resumption of the torment. There is a piercing cry. Tosca leaps up and speaks quickly. Tosca Nel pozzo nel giardino In the well in the garden 28

29 Scarpia Là è Angelotti? Angelotti is there? Tosca Sì! Yes! Scarpia Basta, Roberti. Enough, Roberti. Sciarrone re-opens the door. Sciarrone È svenuto! He has fainted! Tosca Assassino! Murderer! Voglio vederlo I want to see him Scarpia Portatelo qui! Bring him here! Sciarrone returns followed by Cavaradossi, who is carried and laid on the sofa. Tosca runs up, but on seeing her lover spattered with blood, she covers her face in horror. Then, ashamed of her weakness, she kneels beside him, kissing him and weeping. Sciarrone, Roberti and the Judge leave. Spoletta and the policemen remain. Cavaradossi regains consciousness. Cavaradossi Floria! Floria! Tosca Amore Beloved Cavaradossi Sei tu? Is it you? Tosca Quanto hai penalo How you have suffered anima mia! Ma il giusto my soul! But the just Iddio lo punirà! God will punish him! Cavaradossi Tosca, ho parlato? Tosca, did I speak? Tosca No, amor No, beloved Cavaradossi Davvero? Tosca No! No! Truly not? Scarpia loudly, to Spoletta Nel pozzo del giardino. Va, Spoletta! In the well in the garden. Go, Spoletta! Spoletta leaves. Cavaradossi has heard, and rises threateningly towards Tosca, but he is too weak and falls back on the sofa. Cavaradossi M hai tradito! You have betrayed me! Tosca Mario! Mario! He thrusts her away. Cavaradossi Maledetta! Accursed woman! Tosca Mario! Mario! Sciarrone bursts in, breathless. Sciarrone Eccellenza, quali nuove! Excellency, such news! Scarpia Che vuol dir quell aria afflitta? What is the meaning of this worried look? Sciarrone Un messaggio di sconfitta It is news of defeat Scarpia Che sconfitta? Come? Dove? What defeat? How? Where? Sciarrone A Marengo At Marengo 29

30 Scarpia Tartaruga! Tortoise! Sciarrone Bonaparte è vincitor Bonaparte has won Scarpia Melas Melas Sciarrone No! Melas è in fuga! No! Melas has fled! Having listend intently, Cavaradossi now finds the strength to rise. Tosca tries to calm him. Cavaradossi Vittoria! Vittoria! L alba vindice appar che fa gli empi tremar! Libertà sorge, crollan tirranidi! Victory! Victory! The avenging dawn now rises to make the wicked tremble! Freedom rises, the scourge of tyrants! Tosca Mario, taci, pietà di me! Mario, be still, have pity on me! Cavaradossi Del sofferto martir me vedrai qui gioir il tuo cor trema, o Scarpia, carnefice! In my own suffering you see me now rejoice your heart trembles, O Scarpia, hangman! Tosca pietà! taci! non l ascoltate! pity! quiet! don t listen! Pietà! pietà di me! Pity! have pity on me! Scarpia Braveggia, urla! T affretta Boast, scream! Hurry a palesarmi il fondo to reveal the depths dell alma ria! of your vile soul! Va! Moribondo, Go! For you die, il capestro t aspetta! the hangman s noose awaits you. Va, va! Go, go! to the policemen Portatemelo via! Take him away! As Cavaradossi is dragged away, Tosca tries to hold on to him, but is pushed aside. Tosca Mario con te Mario with you Scarpia Voi no! Not you! The door closes. Scarpia and Tosca are alone. SCENE FIVE Tosca Salvatelo! Save him! Scarpia Io? Voi! I? You! He goes to the table and sees his unfinished supper. Now he is calm and smiling. La povera mia cena fu interrotta. My poor supper was interrupted. Così accasciata? Via, mia bella So downhearted? Come, my fair signora, sedete qui. Volete che cerchiamo lady, sit here. Shall we try to find insieme il modo di salvarlo? together a way to save him? Still smiling, he sits down and motions to her to do the same.. E allor sedete e favelliamo. E intanto un sorso. È vin di Spagna And so sit down and we shall talk. And first a drink. It s Spanish wine 30

31 Un sorso per rincorarvi. A sip to hearten you. Tosca sits facing him, then staring at him, contemptuously asks: Tosca Quanto? How much? Scarpia Quanto? How much? Tosca Il prezzo! The price! Scarpia laughs. Scarpia Già Mi dicon venal, Yes They say that I am venal, ma a donna bella non mi vendo but to beautiful women I don t sell myself a prezzo di moneta no! for a price in money no! Se la giurata fede devo tradir If I am to betray my oath of office ne voglio altra mercede. I want another reward. Quest ora io l attendeva! I have waited for this hour! Già mi struggea Already I burned l amor della diva! with passion for the Diva! Ma poc anzi ti mirai But tonight I saw you qual non ti vidi mai! as I had never seen you before! Quel tuo pianto era lava Your tears were lava ai sensi miei e il tuo sguardo to my senses and your look che odio in me dardeggiava, of pure hatred towards me, mie brame inferociva! fuelled my longing! Agil qual leopardo Supple as a leopard t avvinghiasti all amante you entrapped your lover Ah! In quell istante Ah! In that instant t ho giurata mia! I vowed you would be mine! Mia! Mine! Scarpia rises and stretches his arms towards Tosca, who has been listening motionless. She leaps up and hides behind the sofa. Tosca Ah! Ah! Scarpia Sì, t avrò! Yes, I will have you! Tosca Ah! Piuttosto giù mi avvento! Ah! I ll throw myself out first! Scarpia In pegno il Mario tuo mi resta! I hold your Mario in my power! Tosca Ah! miserabile Ah! wretch l orribil mercato! ghastly bargain! The idea of appealing to the Queen suddenly occurs to Tosca, and she runs towards the door. Scarpia Violenza non ti farò. Sei liberai. I m not going to hurt you. You are free. Va pure. So go. Ma è fallace speranza: la Regina But it s a false hope: the Queen farebbe grazia ad un cadavere! would merely grant pardon to a corpse! Glaring at him, Tosca drops on the sofa. She looks at him with the utmost contempt. Come tu m odii! How you detest me! Tosca Ah! Dio! Ah! God! Scarpia Così ti voglio! Even so I want you! 31

32 Tosca Non toccarmi, demonio! Don t touch me, demon! T odio, t odio, abbietto, vile! I hate you, hate you, fiend, villain! Scarpia Che importa?! What does it matter?! Spasimi d ira spasimi d amore! Spasms of wrath spasms of passion! Tosca Vile! Villain! Scarpia Mia! You are mine! Tosca Aiuto! Help! The rolling of drums is heard, getting nearer and then farther. Scarpia Odi? Do you hear? È il tamburo. S avvia. Guida It is the drum. It s happening. It leads la scorta ultima ai condannati. the last escort of the condemned. Il tempo passa! Time passes! Sai quale oscura opra laggiù si compia? Là si drizza un patibolo! Al tuo Mario, per tuo voler, non resta che un ora di vita. Do you know what dark work is being done down there? There they re erecting a gallows! Your Mario, by your wish, has but one hour to live. Tosca Vissi d arte, vissi d amore, I lived for art, I lived for love, non feci mai male ad anima viva! never did I harm a living creature! Con man furtiva With a furtive hand quante miserie conobbi, aiutai whatever misery I found, I helped Sempre con fè sincera Always in true faith la mia preghiera my prayers ai santi tabernacoli salì. rose to the holy chapels. Sempre con fè sincera, Always in true faith, diedi fiori agli altar, I brought flowers to the altars, She kneels before Scarpia. Nell ora del dolore perchè, perchè Signore, perchè me ne rimuneri così? Diedi gioielli della Madonna al manto, e diedi il canto agli astri, al ciel, che ne ridean più belli. Nell ora del dolor perchè, perchè Signore, perchè me ne rimuneri così? Scarpia Risolvi! Decide! In this hour of sorrow why, why Lord, why do you repay me thus? I brought jewels for the Madonna s mantle, and sung songs to the stars, to heaven, that they shine more brightly. In this hour of sorrow why, why Lord, why do you repay me thus? Tosca Mi vuoi supplice ai tuoi piedi? Do you see me kneeling at your feet? Vedi, le man giunte io stendo a te! See, I extend my clasped hand to you! Ecco, vedi, Here, see, e mercè d un tuo detto, at the mercy of your word, vinta, aspetto vanquished, I beg Scarpia Sei troppo bella, Tosca, You are too beautiful, Tosca, e troppo amante, and too loving, 32

33 Cedo. A misero prezzo tu, a me una vita, io, a te chieggo un istante! I yield. At a paltry price you, from me a life, I, from you beg an instant! Tosca rises, revolted. Tosca Va! Va! Mi fai ribrezzo! Va! Va! Go! Go! You disgust me! Go! Go! There is a knock at the door. Scarpia Chi è là? Who s there? Spoletta enters, breathless. Spoletta Eccellenza, l Angelotti Excellency, Angelotti al nostro giungere s uccise! killed himself when we arrived! Scarpia Ebben lo si appenda morto Then have him hanged dead alle forche! E l altro prigionier? from the gibbet! And the other prisoner? Spoletta Il cavalier Cavaradossi? The cavalier Cavaradossi? È tutto pronto, Eccellenza! Everything is ready, Excellency! Tosca (Dio m assisti!) (God help me!) Scarpia to Spoletta Aspetta. to Tosca Ebbene? Wait. Well? Tosca nods. Ashamed, she weeps and hides her face. Tosca to Spoletta Odi interrupting Ma libero all istante lo voglio! Listen But I want him freed this instant! Scarpia to Tosca Occorre simular. Non posso far grazia aperta. Bisogna che tutti abbian per morto il cavalier. Quest uomo fido provvederà. Tosca Chi m assicura? How can I be sure? We must pretend. I cannot openly pardon him. It s necessary that everyone hears of the Cavalier s death. This trusted man of mine will see to it. Scarpia L ordin ch io gli darò voi qui presente. By the orders I give him with you here. Spoletta: chiudi. Spoletta: close the door. Ho mutato d avviso Il prigionier sia fucilato. I have changed my mind The prisoner shall be shot. Tosca starts with terror. Attendi Wait a moment He gives Spoletta a hard, significant look, and Spoletta nods in reply that he has understood his meaning. Come facemmo del conte Palmieri As we did with Count Palmieri Spoletta Un uccisione An execution 33

34 Scarpia simulata! Come a fake one! As avvenne del Palmieri! happened with Palmieri! Hai ben compreso? Do you understand? Spoletta Ho ben compreso. I understand. Scarpia Va. Go. Tosca Voglio avvertirlo io stessa. I want to warn to him myself. Scarpia E sia. As you wish. to Spoletta Le darai passo. Bada: Let her pass. Remember: all ora quarta at four o clock. Spoletta Sì. Come Palmieri Yes. Like Palmieri Spoletta leaves, and as his footsteps fade, Scarpia s demeanour changes, and he advances on Tosca flushed with passion. Scarpia Io tenni la promessa I have kept my promise Tosca Non ancora. Not yet. Voglio un salvacondotto onde fuggir I want a safe conduct so that I can flee dallo Stato con lui. the State with him. Scarpia Partir dunque volete? So you want to leave? Tosca Sì, per sempre! Yes, for ever! Scarpia Si adempia il voler vostro. Your wish will be granted. He goes to the desk and starts to write. E qual via scegliete? And which road do you choose? Tosca goes to the table to take the glass of wine that Scarpia has poured: but as she lifts it, her eye falls on a pointed knife lying on the table. Seeing that Scarpia is absorbed in writing, and still answering his questions and watching him, she carefully reaches for it. Tosca La più breve! The shortest! Scarpia Civitavecchia? Civitavecchia? Tosca Sì. Yes. She manages to take the knife. Still watching, she hides it behind her as she leans on the table. He finishes making out the pass, puts his seal on it and folds it. He then opens his arms and again advances on Tosca. Scarpia Tosca, finalmente mia! Tosca, now you are mine at last! His cry of lust turns to one of pain as Tosca stabs him in the chest with the knife. Maledetta! Accursed one! Tosca Questo è il bacio di Tosca! This is the kiss of Tosca! Staggering, Scarpia still advances, his arm stretches towards her. Tosca avoids him, but becomes trapped between him and the table. As he reaches her, she pushes him back and he crashes to the floor, shrieking in a stifled voice. Scarpia Aiuto! Muoio! Help! I am dying! She watches him struggle, helplessly. Soccorso! Muoio! Help! I die! 34

35 Tosca Ti soffoca il sangue? Is your blood choking you? Ah! E ucciso da una donna! Ah! And killed by a woman! M hai assai torturata! You tortured me enough! Odi tu ancora? Parla! Guardami! Can you still hear? Talk! Look at me! Son Tosca! o Scarpia! I am Tosca! O Scarpia! Scarpia collapses. Scarpia Soccorso, aiuto! Help, help! Muoio! I die! Tosca bends over him. Tosca Muori dannato! Muori, muori! Die damned one! Die, die! Scarpia remains motionless. È morto! Or gli perdono! E avanti a lui tremava tutta Roma! He is dead! Now I pardon him! And before him all Rome trembled! With her eyes still fixed on Scarpia s body, Tosca goes to the table and washes her fingers, then goes to the mirror to straighten her hair. With a shudder, she takes the pass from his clenched fist and hides it in her clothing. She puts the candle out, and is about to leave when her conscience gets the better of her. She relights the candle from the one on the desk, and places the two of them either side of Scarpia s head. Then seeing a crucifix on the wall, she reverently takes it down and lays it on Scarpia s chest, before finally creeping out of the doorway. 35

36 ACT THREE The top of Castel Sant Angelo. There is a desk with a large registry book, a crucifix and a lamp, and a small stairway up to the ramparts. The night gradually lifts to the grey pre-dawn light, as church bells toll for matins. The voice of a passing shepherd is heard. SCENE ONE Un pastore Io de sospiri, Te ne rimanno tanti Pe quante foje Ne smoveno li venti. Tu me disprezzi Io me ciaccoro, Lampene d oro Me fai morir! I give you sighs, There are as many As there are leaves Moving in the wind. You may scorn me My heart is sick, Lamp of gold I die for you! A jailer comes up the stairs from below and lights the lamp. He sits and waits, sleepy. Soon, a troop of guards bring in Cavaradossi. The Sergeant hands a note to the jailer, who reads it, then enters details in the registry book as he questions Cavaradossi. SCENE TWO Carceriere Mario Cavaradossi? Mario Cavaradossi? Cavaradossi nods. The jailer hands the pen to the Sergeant, who signs the register and then leaves down the stairs with the guards. A voi. to Cavaradossi Vi resta un ora Un sacerdote i vostri cenni attende. Cavaradossi No. Ma un ultima grazia io vi richiedo For you. Carceriere Se posso If I can Cavaradossi Io lascio al mondo una persona cara. Consentite ch io le scriva un sol motto. Unico resto di mia ricchezza è questo anel Se promettete di consegnarle il mio ultimo addio, esso è vostro You have one hour A priest awaits your call. No. But I ask a last favour of you I leave in the world one person dear to me. Permit me to write her a few lines. All that remains of my possessions is this ring If you will promise to give her my last farewell, it is yours The jailer hesitates, but accepts. He motions to Cavaradossi to sit at the table, where he begins to write. Carceriere Scrivete. Write. Cavaradossi E lucevan le stelle ed olezzava la terra stridea l uscio dell orto e un passo sfiorava la rena Entrava ella, fragrante, mi cadea fra le braccia Oh! dolci baci, o languide carezze, mentr io fremente le belle forme disciogliea dai veli! Svanì per sempre il sogno mio d amore And the stars shone and the earth was perfumed the gate to the garden creaked and a step rustled the sand She entered, fragrant, fell into my arms Oh! sweet kisses, O gentle caresses, as I trembling exposed her beauty from her veils! Vanished forever is my dream of love 36

37 l ora è fuggita e muoio disperato! E non ho amato mai tanto la vita! the hour has fled and I die desperate! And never have I loved life so much! He puts his head in his hands and starts to cry, SCENE THREE Spoletta appears at the top of the stairs with the Sergeant, Tosca following them. Spoletta points out Cavarodossi to her, then leaves with the jailer. Tosca lifts Cavaradossi s head, and he jumps up, amazed. She shows him the safe conduct, and he reads it. Cavaradossi Franchigia a Floria Tosca Immunity for Floria Tosca Both e al cavaliere che l accompagna. and for the cavalier accompanying her. Tosca Sei libero! You are free! Cavaradossi Scarpia! Scarpia che cede? La prima sua grazia è questa Tosca E l ultima! And his last! Cavaradossi Che dici? Scarpia! Scarpia has yielded? This is his first act of clemency What are you saying? Tosca Il tuo sangue o il mio amore Your blood or my love volea Fur vani scongiuri e pianti. he wanted In vain I pleaded and cried. Invan, pazza d orror, In vain, wild with horror, alla Madonna mi volsi I appealed to the Madonna e ai Santi and to the Saints L empio mostro dicea: Già The evil monster told me: Already nei cieli il patibol to the skies the gallows le braccia leva! stretch their arms! Rullavano i tamburi The drums rolled Rideva, l empio mostro rideva He laughed, the evil monster laughed già la sua preda pronto a ghermir! ready to clutch his prey! «Sei mia!» Sì. Alla sua brama Be mine! Yes. To his lust mi promisi. Lì presso I promised myself. There at hand luccicava una lama glimmered a blade Ei scrisse il foglio liberator, He wrote out the liberating pass, venne all orrendo amplesso and came for his horrible embrace Io quella lama gli piantai nel cor. I planted that blade in his heart. Cavaradossi Tu!? di tua man l uccidesti! tu pia, tu benigna, e per me! You!? with your own hand you killed him! you who are so devout, so gentle, and for me! Tosca N ebbi le man tutte lorde di sangue! My hands were covered with his blood! Cavaradossi takes her hands in his own. Cavaradossi O dolci mani mansuete e pure, o mani elette a bell opre e pietose, a carezzar fanciulli, a coglier rose, a pregar, giunte per le sventure, dunque in voi, fatte dall amor secure, giustizia le sue sacre armi depose? O sweet hands gentle and pure, O hands meant for good works and piety, caressing children, gathering roses, for prayers, given at others misfortune, then it was in you, made strong by love, that justice placed her sacred weapons? 37

38 Voi deste morte, o man vittoriose, You dealt out death, O victorious hands, o dolci mani mansuete e pure! O sweet hands gentle and pure! Tosca Senti l ora è vicina; io già Listen the hour is near; I have already raccolsi oro e gioielli collected my gold and jewels una vettura è pronta. a carriage is ready. Ma prima ridi amor prima sarai But first laugh my love first you will fucilato per finta be shot in pretence ad armi scariche Simulato supplizio. with unloaded guns Mock punishment. Al colpo cadi. At the shot fall down. I soldati sen vanno e noi siam salvi! The soldiers leave and we are safe! Poscia a Civitavecchia una tartana Afterwards to Civitavecchia a ship e via pel mar! and away by sea! Cavaradossi Liberi! Tosca Liberi! Free! Cavaradossi Via pel mar! Away by sea! Tosca Chi si duole in terra più? Who suffers in the world any more? Senti effluvi di rose? Do you smell the perfume of the roses? Non ti par che le cose Don t you feel that all things aspettan tutte innamorate il sole? await the sun enamoured? Cavaradossi Amaro sol per te m era il morire, Only for you was death bitter for me, Da te la vita prende ogni splendore, From you life takes every splendour, all esser mio la gioia ed il desire for my being joy and desire nascon di te come di fiamma ardore. are born in you like intense flames. Io folgorare i cieli I will see the lightening of the heavens e scolorire vedrò and their darkening nell occhio tuo rivelatore, through your revealing eyes, e la beltà delle cose più mire and the beauty of more wonderful things avrà sol da te will have from you alone voce e colore. their voice and colour. Tosca Amor che seppe a te vita serbare The love that came to you to save your life ci sarà guida in terra, shall be our guide on earth, e in mar nocchier and our pilot on the seas e vago farà il mondo riguardare. and make the world dreamy to our eyes. Finché congiunti alle celesti sfere Until together to the celestial spheres dileguerem, siccome alte sul mare we will disperse, as high above the sea a sol cadente, nuvole leggere! at sundown, clouds fade! Back to reality, Tosca looks about uneasily. E non giungono They still don t come Bada! al colpo egli è mestiere Be careful! at the shot it s vital che tu subito cada that you fall down at once Cavaradossi Non temere Have no fear che cadrò sul momento e al naturale. I ll fall at that moment and naturally. Tosca Ma stammi attento di non farti male! But be careful not to hurt yourself! Con scenica scienza With my stage experience io saprei la movenza I know the movement Free! 38

39 Cavaradossi Parlami ancor come dianzi parlavi, è così dolce il suon della tua voce! Speak to me again as you spoke before, so sweet is the sound of your voice! Tosca Uniti ed esulanti Together in exile diffonderan pel mondo i nostri amori, we shall bear our love through the world, armonie di colori, harmonies of colour, Cavaradossi Armonie di canti diffonderem We ll spread harmonies of song Both Trionfal di nova speme Triumphant with new hope l anima freme in celestial the soul trembles in heavenly crescente ardor ardour increasing Ed in armonico vol And in harmonious flight già l anima va already the spirit soars all estasi d amor. to the ecstasy of love. Tosca Gli occhi ti chiuderò con I will seal your eyes with mille baci a thousand kisses e mille ti dirò nomi d amor. and call you by a thousand names of love. FINAL SCENE A squad of soldiers has come up the stairs. The officer arranges them in a firing squad. Spoletta, the Sergeant and the jailer also enter, Spoletta directing affairs. As dawn appears, a bell strikes four. The jailer removes Cavaradossi s cap and nods to the officer. Carceriere L ora! It is time! Cavaradossi Son pronto. The jailer takes the register and leaves. I am ready. Tosca (Tieni a mente al primo colpo, (Remember at the first shot, giù ) down ) Cavaradossi (Giù.) (Down.) Tosca (Nè rialzarti innanzi (Don t get up before ch io ti chiami.) I call you.) Cavaradossi (No, amore!) (No, beloved!) Tosca (E cadi bene.) (And fall well.) Cavaradossi (Come la Tosca in teatro.) (Like Tosca on the stage.) Tosca (Non ridere ) (Don t laugh ) Cavaradossi (Così?) (Like so?) Tosca (Così.) (Like so.) Tosca moves to one side where she can see. Cavaradossi declines the blindfold with a smile. The preparations strain Tosca s patience. Tosca Com è lunga l attesa! How long the wait is! Perché indugiano ancor? Why are they still delaying? Già sorge il sole The sun is already rising Perché indugiano ancora? Why are they still delaying? è una commedia, it is a farce, lo so ma questa angoscia I know but this anguish eterna pare! seems to last for ever! 39

40 Ecco! apprestano l armi com è bello il mio Mario! The officer lowers his sabre, the platoon fires and Cavaradossi falls. Là! muori! Ecco un artista! There! they are taking aim how handsome my Mario is! There! die! What an actor! The Sergeant moves towards the fallen man, but Spoletta stops him delivering the coup de grace. He covers Cavaradossi with a cloak. Spoletta and the guards leave. Tosca watches impatiently, worried that Cavaradossi may lose patience and move or speak. O Mario, non ti muovere s avviano taci! vanno scendono O Mario, do not move they re going be still! they are going they re descending She thinks she hears the guards returing. Ancora non ti muovere She listens again. They have all gone. Presto, su! Mario! Mario! Su, presto! Andiam! Su, su! You still mustn t move Quickly, up! Mario! Mario! Up, quickly! Let s go! Up, up! She bends down to help him, and lifts the cloak. Suddenly she gasps as she looks at her hands. She kneels and quickly removes the cloak, then leaps to her feet pale with terror. Realising what has happened, she throws herself on his body. Mario! Mario! Ah! Morto! Morto! O Mario morto? tu?.. così? Finire così? finire così! To, morto, morto! Mario povera Floria tua! Mario! Mario! From below come the confused voices of Spoletta, Sciarrone and the soldiers. They are approaching. Mario! Mario! Ah! Dead! Dead! O Mario dead? you? like this? To end like this? to end ike this! You, dead, dead! Mario your poor Floria! Mario! Mario! Sciarrone Vi dico pugnalato! I tell you he was stabbed! Voices Scarpia? Scarpia? Sciarrone Scarpia. Scarpia. Spoletta La donna è Tosca! It was the woman Tosca! Voices Che non sfugga! Don t let her escape! Attenti agli sbocchi delle scale! Watch the foot of the stairs! Spoletta and Sciarrone rush in from the stairway. Sciarrone È lei! It s her! Spoletta Ah! Tosca, pagherai Ah! Tosca, you will pay ben cara la sua vita! dearly for his life! Tosca jumps up, pushing Spoletta away. Tosca Colla mia! With my own! Spoletta falls back from the sudden thrust, and Tosca escapes his clutches. She runs to the parapet, where she leaps up and hurls herself over the edge, crying: O Scarpia, avanti a Dio! Sciarrone and soldiers rush to the parapet and look down. Spoletta stands, pale and stunned. O Scarpia, before God! 40

41 ARTISTS BIOGRAPHIES Naomi Harvey Floria Tosca (soprano) Geraint Dodd Mario Cavaradossi (tenor) Photo Brian Tarr Born and educated in Cornwall, Naomi studied with William McAlpine at GSMD. Her long association with Welsh National Opera includes Tosca, Violetta La Traviata, Desdemona Otello, Cio-Cio San Madama Butterfly, Mimì La Bohème, Liù Turandot, Nedda Pagliacci, Giorgetta Il Tabarro, Hanna Glawari The Merry Widow, Pamina and First Lady The Magic Flute, Micaëla and Frasquita Carmen, Madame Larina Eugene Onegin, Flower Maiden Parsifal and Berta The Barber of Seville. For English National Opera she has played Fiordiligi Così fan Tutte; for English Touring Opera, Mimì and Musetta La Bohème and Alice Ford Falstaff; for Mid- Wales Opera, Tosca; for Opera Holland Park, Magda The Consul, directed by Simon Callow; and for English Bach Festival, La Musica Orfeo at The Royal Opera House and Ismene Mitridate in Monte Carlo. Naomi has equally wide experience as a concert and oratorio performer, and most recently she entered the world of Wagner heroines by understudying Senta in ENO s new production of The Flying Dutchman. Geraint was born in Penycae, North Wales, and studied at the RNCM in Manchester. Operatic roles include Pinkerton Madama Butterfly (Welsh National Opera and Singapore Lyric Opera); Pollione Norma (San Francisco Opera); Cavaradossi Tosca, Duke Rigoletto, Don José Carmen, Macduff Macbeth, Vogelgesang Die Meistersinger von Nürnberg, Florestan Fidelio (WNO); Canio Pagliacci (English National Opera and Opera North); Nadir The Pearl Fishers, Werther, Rodolfo La Bohème (English Touring Opera); Turiddu Cavalleria rusticana (Raymond Gubbay); Calaf Turandot and Radames Aïda (Mid Wales Opera). Geraint has worked with many leading conductors, including Lothar Koenigs, Owain Arwel Hughes, David Lloyd Jones, Wilfried Boettcher, Stanisław Skrowaczewski and Sir Charles Mackerras in works such as Elgar s Dream of Gerontius, Rossini s Stabat Mater, Verdi s Requiem, and Handel s Messiah. Future engagements include an opera gala at the Colston Hall, Bristol and a performance of Puccini s Messa di Gloria at St Andrew s University. 41

42 ARTISTS BIOGRAPHIES Nicholas Folwell Il barone Scarpia (baritone) William Robert Allenby Sagrestano (baritone) Nicholas Folwell has sung Alberich internationally, including for Nationale Reisopera, Angers Nantes Opéra, Den Nye Opera, Welsh National Opera and Scottish Opera. Other engagements include Blond Eckbert, Papageno, Tonio, Falke, Mutius Timon of Athens, Sancho Don Quixote, Poacher/Forester, Major Mary Die Soldaten, Music Master Ariadne on Naxos, Bosun Billy Budd, Host Sir John in Love, Antonio The Marriage of Figaro, Commissar of Police Rosenkavalier, Kuligin Kát a Kabanová, Brander Damnation of Faust (English National Opera); Figaro, Leporello, Pizarro, Escamillo, Poacher, Klingsor (WNO); Beckmesser and Leporello (Opera North); Konrad Nachtigall Die Meistersinger von Nürnberg, The Poacher, Antonio (Royal Opera House); Figaro, Melitone La forza del destino, Bartolo Il barbiere di Siviglia, Mumlal The Two Widows (Scottish); Pizarro, Figaro (Glyndebourne on Tour); Dreieinigkeitsmoses Aufstieg und Fall der Stadt Mahagonny (Nantes); Figaro, Le Chat/L Horloge L Enfant et les Sortilèges, Don Inigo Gomez L heure espagnole (Opera Zuid); Masetto (Tel Aviv); Marullo (Frankfurt); Koroviev in première of Der Meister und Margarita (Paris); Sharpless, Pizarro (Holland Park). 42 Photo Carpenter Turner, London William Robert Allenby studied at the RAM and at the RSAMD where he was the recipient of various prestigious scholarships and awards. He has performed with English National Opera, Welsh National Opera, Scottish Opera, Opera North, the D Oyly Carte, Glyndebourne, Opera Holland Park, Buxton, Opera Ireland, Saigon Opera House, Linbury Studio ROH, The Opera Project and Iford Arts. His repertoire includes Monterone Rigoletto, Sacristan and Sciarrone Tosca, Dulcamara L elisir d amore, Germont Père La Traviata, Araspe Tolomeo, Moralès Carmen, Alfio Cavalleria rusticana, Dr Bartolo and Antonio The Marriage of Figaro and Pish-Tush The Mikado. Future performances include Simone Gianni Schicchi for Opera Holland Park, Masetto Don Giovanni for Mid Wales Opera, Alcindoro La Bohème for the Royal Opera House, Covent Garden and a return to WNO. David Newman Spoletta (tenor) David is one of the most exciting and respected tenor soloists of his generation and is currently on contract with English National Opera. Notable operatic engagements include successfully standing in, with 20 minutes notice, to sing Nadir at ENO; Radames, Rodolfo, Pinkerton, Cavaradossi, Alfredo, Don José, Tamino and Nemorino, with companies including ENO, Scottish Opera, Opera Ireland, Opera Interludes and Mid Wales Opera. He has over 80 concert works in his repertoire, performing at venues including the Barbican, Queen Elizabeth Hall, Royal Albert Hall, York Minster, Durham, Winchester and Salisbury Cathedrals. He has broadcast on Classic FM, BBC radio and television, and appeared as soloist at outdoor classical spectaculars for audiences of 10,000 people.

43 ARTISTS BIOGRAPHIES Matthew Hargreaves Cesare Angelotti (baritone) Matthew Hargreaves was born in London and began singing as a chorister at Westminster Abbey. He studied at GSMD with Rudolph Piernay where he won several prizes including the Decca Prize in the 1997 Kathleen Ferrier Award Competition. Recent performances include Angelotti Tosca Gubetta Lucrezia Borgia at English National Opera; Figaro Le nozze di Figaro and Leporello Don Giovanni for Opera Holland Park. Future engagements include The Voice of Neptune Idomeneo for Grange Park Opera, The Stagehand The Makropulos Case, Leporello Don Giovanni for Opera North and The Investigator A Dog s Heart at La Scala, Milan. Dominic Williams Un pastore (treble) Dominic is 11 years old and is currently studying at Trinity School, Croydon. With the Trinity Boys Choir Dominic has performed in Parsifal, backed Susan Boyle at the Pride of Britain Awards, Children in Need, at The Royal Variety Performance and performed in the BBC Proms at the Royal Albert Hall. His solo performances include Britten s Midsummer Nights Dream with English National Opera and La Bohème at Glyndebourne. Dominic is happiest when he is performing. Simon Lobelson Sciarrone/Il carceriere (baritone) Born in Sydney of Egyptian parents and bred in Brussels, Simon holds an Opera Diploma with distinction from the RCM. Recent oratorio appearances have included the Sydney Opera House, Birmingham Symphony Hall, and with the London Mozart Players, Israel Camerata and for the Lucerne Festival under Pierre Boulez. Current and recent operatic projects include Ludd and Isis for the Royal Opera House, Adriana Lecouvreur at the Queen Elizabeth Hall, Béatrice et Bénédict at Cadogan Hall, Barber of Seville for Swansea City Opera, L enfant et les sortilèges in Greece, Zaide for Sadler s Wells and Buxton Festival and opera galas in China. Simon has recorded for Chandos and ABC Classics. Nathaniel Brawn Assistant conductor Nathaniel began his musical career at the age of 14, paid with viola lessons in return for accompanying string pupils. Since then, he has gone on to play in concerts with the Bournemouth Symphony Orchestra under Marin Alsop and for performers such as Russell Watson, Alison Balsom and Bobby Chen. Since graduating from the University of Surrey (Conducting Russell Keable, Piano Dr Maureen Galea), Nathaniel has taught for the Eton Choral Courses and Berkshire Music Service, plays regularly for the Kantanti Ensemble and sings with Collegium Vocale. He is now Musical Director of the Highcliffe Junior Choir, Dorset, with whom he has recently released a recording of Mr Hook s Original Christmas Box with David Owen Norris, and he becomes Head of Music at Wetherby Preparatory School, Marble Arch, in September. 43

44 ARTISTS BIOGRAPHIES BIOGRAPHIES Russell Keable conductor Russell Keable has established a reputation as one of the UK s most exciting musicians. As a conductor he has been praised in the national and international press: Keable and his orchestra did magnificently, wrote the Guardian; one of the most memorable evenings at the South Bank for many a month, said the Musical Times. He performs with orchestras and choirs throughout the British Isles, has conducted in Prague and Paris (concerts filmed by French and British television) and recently made his debut with the Royal Oman Symphony Orchestra in Dubai. As a champion of the music of Erich Korngold he has received particular praise: the British première of Korngold s Die tote Stadt was hailed as a triumph, and research in Los Angeles led to a world première of music from Korngold s film score for The Sea Hawk. Keable was trained at Nottingham and London Universities; he studied conducting at London s Royal College of Music with Norman Del Mar, and later with George Hurst. For 27 years he has been associated with Kensington Symphony Orchestra, one of the UK s finest non-professional orchestras, with whom he has led first performances of works by many British composers (including Peter Maxwell Davies, John Woolrich, Robin Holloway, David Matthews, Joby Talbot and John McCabe). He has also made recordings of two symphonies by Robert Simpson, and a Beethoven CD was released in New York. Russell Keable is recognized as a dynamic lecturer and workshop leader. He has the rare skill of being able to communicate vividly with audiences of any age (from school children to music students, adult groups and international business conferences). Over five years he developed a special relationship with the Schidlof Quartet, with whom he established an exciting and innovative education programme. He holds the post of Director of Conducting at the University of Surrey. Keable is also in demand as a composer and arranger. He has written works for many British ensembles, and his opera Burning Waters, commissioned by the Buxton Festival as part of their millennium celebration, was premièred in July He has also composed music for the mime artist Didier Danthois to use working in prisons and special needs schools. 44

45 ARTISTS BIOGRAPHIES Kensington Symphony Orchestra In its 56th year Kensington Symphony Orchestra enjoys an enviable reputation as one of the finest amateur orchestras in the UK. Its founding premise to provide students and amateurs with an opportunity to perform concerts at the highest possible level continues to be at the heart of its mission. It regularly attracts the best non-professional players from around London. It seems extraordinary that KSO has had only two principal conductors the founder, Leslie Head, and the current incumbent, Russell Keable. The dedication, enthusiasm and passion of these two musicians has indelibly shaped KSO s image, giving it a distinctive repertoire which undoubtedly sets it apart from other groups. Its continued commitment to the performance of the most challenging works in the canon is allied to a hunger for new music, lost masterpieces, overlooked film scores and those quirky corners of the repertoire that few others dare touch. Revivals and premières, in particular, have peppered the programming from the very beginning. In the early days there were world premières of works by Arnold Bax and Havergal Brian, and British premières of works by Nielsen, Schoenberg, Sibelius and Bruckner (the original version of the Ninth Symphony). When Russell Keable arrived in 1983, he promised to maintain the distinctive flavour of KSO. As well as the major works of Mahler, Strauss, Stravinsky and Shostakovich, Keable has aired a number of unusual works as well as delivering some significant musical landmarks the London première of Dvořák s opera Dimitrij and the British première of Korngold s operatic masterpiece, Die tote Stadt (which the Evening Standard praised as a feast of brilliant playing ). In January 2004, KSO, along with the London Oriana Choir, performed a revival of Walford Davies s oratorio Everyman, which is now available on the Dutton label. Photo Sim Canetty-Clarke 45

46 ARTISTS BIOGRAPHIES New music has continued to be the life-blood of KSO. An impressive roster of contemporary composers has been represented in KSO s progressive programmes, including Judith Weir, Benedict Mason, John Woolrich, Joby Talbot and Peter Maxwell Davies. Two exciting collaborations with the BBC Concert Orchestra have been highlights: Bob Chilcott s Tandem and the première of Errollyn Wallen s lively romp around the subject of speed dating, Spirit Symphony, at the Royal Festival Hall, both of which were broadcast on BBC Radio 3. In December 2005, Spirit Symphony was awarded the Radio 3 Listeners Award at the British Composer Awards. Russell Keable has also written music for the orchestra, particularly for its education projects, which have seen members of the orchestra working with schools from the inner London area. In 2006 KSO marked its 50th anniversary. The celebrations started with a ball at the Radisson Hotel, Portman Square in honour of the occasion, attended by many of those involved with the orchestra over the previous 50 years. The public celebration took the form of a concert at London s Barbican in October. A packed house saw the orchestra perform an extended suite from Korngold s score The Sea Hawk, Rachmaninov s Piano Concerto No. 2, with established KSO collaborator Nikolai Demidenko, and Prokofiev s cantata Alexander Nevsky, with the London Oriana Choir. KSO has an honourable pedigree in raising funds for charitable concerns. Its very first concert was given in aid of the Hungarian Relief Fund, and since then the orchestra has supported the Jacqueline du Pré Memorial Fund, the Royal Brompton Hospital Paediatric Unit, Trinity Hospice, Field Lane, Shape London and the IPOP music school. In recent years it has developed links with the Kampala Symphony Orchestra and Music School under its KSO 2 programme, providing training, fundraising and instruments in partnership with charity Musequality. The reputation of the orchestra is reflected in the quality of international artists who regularly appear with KSO. In recent seasons soloists have included Nikolai Demidenko, Leon McCawley, Jack Liebeck and Richard Watkins, and the orchestra has worked with guest conductors including Andrew Gourlay and Nicholas Collon. All have enjoyed the immediate, enthusiastic but thoroughly professional approach of these amateur musicians. Without the support of its sponsors, its Friends scheme and especially its audiences, KSO could not continue to go from strength to strength and maintain its traditions of challenging programmes and exceptionally high standards of performance. Thank you for your support. If you would like to receive news of our forthcoming concerts by , please join our mailing list. Just send a message to jo.johnson@kso.org.uk and we ll do our best to keep you informed. 46

47 ARTISTS BIOGRAPHIES Twickenham Choral Society Conductor: Christopher Herrick A friendly and thriving choir of over 110 voices drawing singers of all ages from a wide area of West London, Twickenham Choral Society has been impressing audiences for more than 90 years. Christopher Herrick has been the choir s conductor since In that time he has led the choir s development, performing a huge range of repertoire ranging from the Renaissance to the present day, and continuing an important tradition of commissioning works from young composers. Concerts are given locally as well as in Westminster Abbey, the Royal Albert Hall, St Martin-in-the-Fields and Guildford Cathedral. Concert tours abroad take place biennially and have included such places as Paris, Prague, Budapest, Barcelona, Istria and Mallorca. Rehearsals are dynamic and challenging with a real feeling of enthusiasm for singing together. They take place in Twickenham as part of the Richmond Adult Community College. Occasional workshops with visiting specialists are organised to polish the choir s vocal technique and members are reauditioned every three years. The choir works with excellent professional soloists and its partner orchestra, the Brandenburg Sinfonia, always aiming to produce the highest quality performance. We are thrilled to have the opportunity of working with Russell Keable and Kensington Symphony Orchestra tonight. Trinity Boys Choir Director: David Swinson Trinity Boys Choir is one of the busiest and most successful in the world. It has enjoyed a high professional profile, both at home and abroad, since its foundation by David Squibb over 40 years ago. In the world of opera, the boys appear on such prestigious stages as Glyndebourne, the Royal Opera House, Covent Garden, English National Opera and various opera houses abroad, including the Opéra Comique, Paris, La Fenice, Venice, and at the Aix-en-Provence Festival. The boys are especially well known for their part in Britten s A Midsummer Night s Dream, in which they have appeared in over 150 professional performances, and they feature on both the Warner DVD and on the Virgin Classics CD of the opera. On the concert platform, the Choir is regularly invited to perform at the BBC Proms, and was honoured to perform in Her Majesty the Queen s 80th Birthday Prom Concert at the Royal Albert Hall in The boys have performed with all the major London orchestras, and with Sir John Eliot Gardiner and the Monteverdi Choir in Spain, Germany, Italy and the UK. Trinity Boys Choir has also been invited to perform in Vienna with the Vienna Boys Choir, and in France, Holland, Hong Kong, Japan, Malaysia and Norway. The Choir s many recordings include John Rutter s Bang, an opera written for them, Britten s A Boy Was Born with the BBC Symphony Chorus, and Walton s Henry V with the BBC Symphony Orchestra and the BBC Singers. Several feature films also incorporate the voices of Trinity Boys Choir, including Lord of the Flies and 101 Dalmations. 47

48 YOUR SUPPORT FRIENDS OF KSO To support KSO you might consider joining our very popular Friends Scheme. There are three levels of membership and attendant benefits: Friend Unlimited concession-rate tickets per concert; priority bookings, free interval drinks and concert programmes. Premium friend A free ticket for each concert, unlimited guest tickets at concessionary rates, priority bookings, free interval drinks and concert programmes. Patron Two free tickets for each concert, unlimited guest tickets at concessionary rates, priority bookings, free interval drinks and concert programmes. All Friends and Patrons can be listed in concert programmes under either single or joint names. We can also offer tailored Corporate Sponsorships for companies and groups. Please ask for details. Cost of membership for the 56th Season is: Friend Premium friend Patron To contribute to KSO through joining the Friends please friends.of.kso@kso.org.uk or call David Baxendale on Honorary Friends Michael Fleming Leslie Head Patrons Gill Cameron Malcolm and Christine Dunmow Gerald Hjert David and Mary Ellen McEuen Linda and Jack Pievsky Neil Ritson and family Kim Strauss-Polman Premium friends David Baxendale Barbara Bedford Fortuné and Nathalie Bikoro John Dale John Dovey Maureen Keable Nick Marchant David and Rachel Musgrove Joan and Sidney Smith Friends Anne Baxendale Robert and Hilary Bruce Jan and Roy Fieldon Joan Hackett Robert and Gill Harding-Payne Michael and Caroline Illingworth Mrs Dorothy Patrick Peter and Marie Rollason Rufus Rottenberg Sandy Shaw 48

49 YOUR SUPPORT OTHER WAYS TO SUPPORT US Sponsorship One way in which you, our audience, can help us very effectively is through sponsorship. Anyone can be a sponsor, and any level of support from corporate sponsorship of a whole concert to individual backing of a particular section or musician is enormously valuable to us. We offer a variety of benefits to sponsors tailored especially to their needs, such as programme and website advertising, guest tickets, and assistance with entertaining. For further details about sponsoring KSO, please speak to any member of the orchestra, sponsorship@kso.org.uk or call James Wheeler on The KSO Endowment Trust An Endowment Trust has been established by Kensington Symphony Orchestra in order to enhance the orchestra s ability to achieve its charitable objectives in the long term. The Trust will manage a capital fund derived from donations and legacies. Each year, the Trustees will make grants from its income to assist important KSO projects and activities, such as commissioning new music, which would be impossible to finance relying on concert funds alone. Our aim is to raise at least 100,000 over the first ten years. We would be pleased to hear from individuals or organisations who would like to donate any sum, large or small, and would also be keen to talk to anyone who might consider recognising KSO s work in their will. For further information, please trust@ kso.org.uk or telephone Neil Ritson on Photo Sim Canetty-Clarke 49