1	Tosca 2001 Conductor: Peter Mark Director: Dorothy Danner Scenery: Michael Yeargan Costumes: Rented OTSL Lighting: Marcus Doshi Preset Act I
2	Director’s notes The history of the making of La Tosca is almost as dramatic as the famous story credited to Sardou. Accusations of plagiarism were heaped at Victorien Sardou following the plays premiere in 1887 with Sarah Bernhardt in the title role. A much publicized lawsuit placed Sardou and Bernhardt against Maruice Barrymore, dramatist, reigning idol of the American stage and progenitor of the great theatrical family. Despite impressive evidence, Barrymore lost the case, though Ethel Barrymore recalled in her autobiography that “it was practically Father’s play down to the candles.” Whatever its source, Sardou produced a historical drama that greatly excited his contemporary audience. Sardou was sensitive to criticism concerning the melodramatic quality of his work and fought this accusation by larding his work with historical references to philosophies, battles, generals, political sympathies and even hair and clothing styles that differentiated the royalists from the republicans. Puccini had to strip away much of this exposition when he converted the play into the opera, but these details provide invaluable information concerning the characters and the violent political climate that led to the demise of the three central characters. The details of the political situation are complex, but the following are a few of the important dates that directly effect the opera: 1797 French soldiers conquered Rome, established the Roman Republic, and arrested the Pope, forcing him to leave the Papal States. 1798 The ultra reactionary Austrian King Ferdinand of Napes and his Consort, Queen Caroline recaptured Rome and established a reign of political repression. All Frenchmen were suspect and displaying the tri colors or reading Voltaire meant imprisonment. 1800 Napoleon is again on the march and the Battle of Marengo is taking place as the opera unfolds. The Austrian commander, General Melas, is so sure of victory that he leaves the field. This assumption is the reason for the Te Deum in Act One. However, Napoleon’s reinforcements arrive later that day, defeating the king’s forces, and leading to Cavaradossi’s victorious outburst in Act Two. The play is also a valuable source for biographical details for the characters. We learn that Tosca came from a simple, peasant background and was charitably adopted and educated by nuns. This explains Tosca’s excessive piety and Royalist politics. Cavaradossi is half French, a Voltarian with revolutionary ties. From the play we learn he volunteered for the paint restoration in the church as a way of staying above suspicion until he and Tosca can go to a safer city. The play calls Scarpia, the head of the secret police, an artist of villainy and a filthy satyr who preys upon women in desperate situations. He tried unsuccessfully to seduce La Marchesa Attavanti, the woman in the painting, in return for her brother Angelotti’s safety. Angelotti was a revolutionary leader scheduled to be hung to please Lady Hamilton, a confidante of the Queen. He had been Lady Hamilton’s lover when she was a prostitute, and was a bitter reminder of her lowly origins. It is impossible to reveal all of this material in an operatic production, but one attempts to make dramatic choices that illuminate this background as much as possible. When Puccini saw the play he thought it was perfect for the stage. Guiseppe Verdi agreed. He would also have liked to set it to music, but considered himself too old. What fun to ponder the possibility! Dorothy Danner 2001
3	Designer’s notes
4	Act I
5	Act I
6	Act I
7	Act I
8	Act I
9	Act II
10	Act II
11	Act II
12	Act II
13	Act III
14	Act III
15	Cast FLORIA TOSCA MARIO CAVARADOSSI BARON SCARPIA ANGELOTTI SACRISTAN SPOLETTA SCIARRONE JAILER A YOUNG SHEPHERD
16	Technical Requirements Number of Trucks: Minimum Width: Minimum Depth: Furthest Upstage Piece: Linesets for Scenery: Number of Electrics: Load In Crew: Run Crew: Load Out Crew: Stock Scenery NOT Included:
17	Set Notes The set consists of three acts, each with it’s own pieces. Note that most of the set pieces lean at a 3 degree angle and require extra weight to keep upright. Act I is inside a chapel at the San Andrea Della Valle. There are four 20’columns connected by gates and grillwork. US is an interior drop of the ceiling. SL is the “Madonna Wall” with the painters scaffold. The Madonna Wall and scaffold require extra weight in their bases. For the scaffold sandbags work best. The columns and grilles split for the Te Deum. Act II is inside the Palazzo Farnese. It is essentially a box set with a ceiling piece. Wall units will require extra weight. Counterweight houses will need to provide sandbags to allow for deployment and storage of ceiling.
18	Costumes Costumes for this production were rented from Opera Theatre of St. Louis
19	Rental costs Contact Virginia Opera for specific applicable costs…. Base Rental Fee sets & costumes up to 3 or 5 performances: Call Additional perfs: Call Repertory fee if used in rotating rep: Call Damage Deposit: $2,000.00 First rights: n/a Designer Royalty: Call Designer Employment & Expenses: Call Load in/Load out Warehouse: $2,000.00 Scenery Supervisor for load in and load out & expenses: $350.00 per day portal to portal; plus per diem $50.00, RTA, hotel, and transportation Costume packing fee: n/a Costume Supervisor: Pack in, fittings & Pack out: n/a Costume Cleaning deposit: n/a Additional arrangements and costs sole responsibility of renter Trucking – Virginia Opera permits only air-ride trucking, by approved trucking company. NO rail permitted Liability Insurance
20	contact Virginia Opera Association PO Box 2580 Norfolk VA 23501 757 627-9545 757 622-0058 fax Website: http://www.vaopera.org Rates and Availability: John kennelly ext 3344 or jkennelly@vaopera.com Technical and scenery: Jeff Moses Darden ext 3313 or jdarden@vaopera.com Marketing materials: Lori Jacobs ext 3320 or ljacobs@vaopera.com