Act 1

Cesare Angelotti, consul of the Roman Republic, escaped from the Castel Sant’Angelo prison. In the church, in the family chapel, his sister hid women’s clothes for him to change into. A sacristan prepares brushes for the painter Cavaradossi, who is working here on a painting of Mary Magdalene. Cavaradossi appears and the sacristan notices that his image resembles the shape of a woman who regularly comes to the church to pray. Cavaradossi nods he saw her too, and impressed by her fervent prayer, he immortalized her in his painting. The sacristan is scandalized, but Cavaradossi argues that each beauty has its own magic and recalls his lover, the singer Floria Tosca. The sacristan exits and appears Angelotti, thinking that the church is empty. He is startled by the presence of the painter, but then recognizes he is an old friend of his. Cavaradossi off ers him help, but Angelotti must hide again as Tosca comes to the church. She heard voices from the inside and suspects that Cavaradossi hides another woman before her. The painter finally manages to get Tosca to leave, but she eventually notices the unfi nished painting and recognizes in it the traits of the Marchesa Attavanti. Cavaradossi reassures her about his love again. Tosca finally leaves. Cavaradossi off ers Angelotti shelter in his villa. Before they leave, a cannon shot signals the discovery of the escape of Angelotti. Cavaradossi decides to accompany his friend. The sacristan convokes acolytes to prepare for the Te Deum to celebrate a victory against Napoleon. The church is raided by police chief Scarpia with his men, looking for fugitive Angelotti. The open chapel, a fan with a sign of the Marchesa Attavanti on it, an empty basket of food intended for Cavaradossi – all these items are evidence affi rming Scarpia’s suspicion that Angelotti was there and who helped him to escape. Tosca is returning to the church. Scarpia decides to use Tosca’s jealousy to fi nd the refugee. With the help of the discovered fan he convinces her that Cavaradossi actually dates Attavanti. Tosca is determined to catch the lovers in the artist’s villa and Scarpia sends his men to follow her. The ceremonial Te Deum begins, but Scarpia’s ideas are concentrated solely on Tosca.


Act 2
In the Palazzo Farnese, Scarpia is waiting for his men whom he sent to follow Tosca in the villa of Cavaradossi. Tosca is also in the palace, singing a festive cantata. Scarpia has her invited to his suite. Spoletta comes in to deliver his report: aft er Tosca’s departure they raided the villa but failed to find Angelotti there, so they arrested Cavaradossi at least. Cavaradossi is brought to Scarpia, but denies all  charges. Tosca enters, surprised by his presence. Scarpia orders the painter to be brought away and tries to get information from Tosca. She first denies having found someone else in the villa, but when Scarpia orders Cavaradossi to be tortured, Tosca reveals aft er a while that Angelotti is hidden in the well at the villa. Scarpia has Cavaradossi brought back in and sends Spoletta to the villa. Cavaradossi reproaches Tosca for having betrayed him. A messenger bursts in with news of Napoleon’s victory. Cavaradossi ridicules Scarpia and welcomes freedom! Scarpia indicates that the painter has signed his own death sentence and lets him be taken away. Tosca begs Scarpia to spare Cavaradossi. Scarpia objects that only she can save him – if she gives herself to him, Cavaradossi will be saved. Tosca finally agrees, but wants Cavaradossi to be released immediately. Scarpia, however, insists on a mock execution. He gives orders to Spoletta and writes a safe-conduct. The moment he wants to take his reward, Tosca kills him.


Act 3
Cavaradossi awaits his execution at the Castel Sant’Angelo. A sound of church bells is heard. Cavaradossi recalls how happy they once were with Tosca and writes a farewell letter. Tosca arrives, shows him the safe-conduct from Scarpia and confesses that she has killed Scarpia. She tells him about the way his „execution“ is supposed to take place and advises him on how to behave in order to make everything seem credible. They are both are enjoying the upcoming freedom and reassure one another of their love. 


At dawn, Cavaradossi is brought before a firing squad on the terrace of the Castel Sant’Angelo. The soldiers fi re and he falls down. When the squad leaves, Tosca runs to him in horror and discovers that Scarpia deceived her: Cavaradossi is dead. Spoletta rushes into the courtyard with men who have already discovered Scarpia’s dead body. Tosca is left with only one way out...

Program and cast

Conductor: Riccardo Chailly
Staging: Davide Livermore
Sets: Giò Forma
Costumes: Gianluca Falaschi
Lights: Antonio Castro


Tosca: Anna Netrebko
Saioa Hernández (2, 5, 8 Jan.)
Cavaradossi: tbd
Scarpia: Luca Salsi
Angelotti: Vladimir Sazdovski
Sagrestano: Alfonso Antoniozzi
Spoletta: Carlo Bosi
Sciarrone: Giulio Mastrototaro

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January 1970

Teatro alla Scala Milano

La Scala (abbreviation in Italian language for the official name Teatro alla Scala) is a world-renowned opera house in Milan, Italy. The theatre was inaugurated on 3 August 1778 and was originally known as the New Royal-Ducal Theatre alla Scala (Nuovo Regio Ducale Teatro alla Scala). The premiere performance was Antonio Salieri's Europa riconosciuta.

Most of Italy's greatest operatic artists, and many of the finest singers from around the world, have appeared at La Scala during the past 200 years. Today, the theatre is still recognised as one of the leading opera and ballet theatres in the world and is home to the La Scala Theatre Chorus, La Scala Theatre Ballet and La Scala Theatre Orchestra. The theatre also has an associate school, known as the La Scala Theatre Academy (Italian: Accademia Teatro alla Scala), which offers professional training in music, dance, stage craft and stage management.

La Scala's season traditionally opens on 7 December, Saint Ambrose's Day, the feast day of Milan's patron saint. All performances must end before midnight, and long operas start earlier in the evening when necessary.

The Museo Teatrale alla Scala (La Scala Theatre Museum), accessible from the theatre's foyer and a part of the house, contains a collection of paintings, drafts, statues, costumes, and other documents regarding La Scala's and opera history in general. La Scala also hosts the Accademia d'Arti e Mestieri dello Spettacolo (Academy for the Performing Arts). Its goal is to train a new generation of young musicians, technical staff, and dancers (at the Scuola di Ballo del Teatro alla Scala, one of the Academy's divisions).


La Scala has several foyer bars: one in the stalls foyer, two bars in the “Arturo Toscanini” boxes foyer (third floor of boxes) and two in the Second Gallery foyer. Bars open before curtain-up and in the intervals.

Food and drink may not be consumed outside the foyers. Food and drink is not permitted in the auditorium, in boxes or galleries.

Next to La Scala’s main entrance you will find the Ristorante Teatro alla Scala “Il Marchesino”, run by celebrated Italian chef Gualtiero Marchesi. The perfect place to enjoy an aperitif or dinner before or after the show, the restaurant is open Monday to Saturday from morning to late evening. Booking recommended.


The La Scala Shop is located inside the opera house and can be accessed from the street and from the stalls foyer during performances. The La Scala Shop sells CDs, DVDs, books and other La Scala-related items.

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