_Tosca_ DARCLÉE. _Cavaradossi_ DE MARCHI. _Scarpia_ GIRALDOIN. _Angelotti_ GALLI. _The Sacristan_ BORELLI.
London saw it in the summer of the same year at Covent Garden, where it was given on July 12 with the following cast, Mancinelli being the conductor.
_Tosca_ TERNINA. _Cavaradossi_ DE LUCIA. _Scarpia_ SCOTTI. _Angelotti_ DUFRICHE. _The Sacristan_ GILIBERT.
In America, _Tosca_ was first given in Italian on February 4, 1901, at the Metropolitan Opera House, New York, by Maurice Grau's company, the cast and conductor being the same as that for the first Covent Garden performance, with the substitution of Cremonini for De Lucia as Cavaradossi.
Its first American production in English was by Henry W. Savage's company, at the Teck Theatre, Buffalo, and cast as follows, Emanuel being the conductor:
_Tosca_ ADELAIDE NORWOOD. _Cavaradossi_ JOSEPH SHEEHAN. _Scarpia_ W. GOFF. _Angelotti_ F. J. BOYLE. _The Sacristan_ FRANCIS CARRIER.
In the music of _Tosca_ Puccini reveals, more powerfully perhaps than anywhere, that quick instinct of the theatre which may be called dramatic, or merely a very clever fitting of music to the mood of the moment. It is, in fact, very purely melodramatic, the word being used here not in its accepted sense of the traditional "tootle-tootle" in the orchestra when the wicked villain pursues the innocent and sorely tried heroine. The story is tragic in all conscience, but it hardly reaches the level of true tragedy, since it is more horrible than impressive, and lacks that restraint and poetry which are two necessary qualities. This much must be said for the operatic version. It is a shade less revolting, less purely realistic than the drama, and it undoubtedly provides a splendid acting _rôle_ for the exponent of the name part; while the lover, and the villain--Scarpia, the chief of the police--are provided with opportunities, very little behind, in point of vocal and dramatic effect. One could very well imagine a production, on prevailing lines set upon elaboration of detail, in which Puccini's music, or a great deal of it, was used purely as incidental music. This suggestion, however, must in no way be taken to mean that as a whole the music of this opera lacks continuity of interest or fails to exhibit the close and essential union between speech and song. There are many pages of strong and definite lyrical charm, but somehow the main interest lies in the action which fascinates the spectator, rather, one feels, against his better--or more calm--judgment. It is, in short, a most moving picture of love, hate, jealousy, passion and intrigue. These, after all, form the great bulk of the material for operatic treatment; and without entering into the question whether _Tosca_ is or is not a work for all time, it has certain very "live" attributes which make it a notable achievement.
