Searching for clues, Scarpia uncovers a lady’s fan with the Attavanti family crest displayed on it, as well as the Magdalene portrait (in which he recognizes the marquess’s face). He proudly announces the evil Napoleon Bonaparte (who’s largely responsible for the revolutionary spirit that’s been stressing out their beloved king) has lost a decisive battle.Ĭelebrations are cut short, however, when Baron Scarpia comes marching in with his royalist police squad on the hunt for Angelotti. Satisfied (for the moment, anyway), Tosca leaves.Īlone with Angelotti, Cavaradossi tells the escaped convict to take shelter at the artist’s private villa and offers to show him the way.Īs the two rush off, the sacristan re-enters with various members of the clergy and church choir.
The painter swears up and down that the resemblance is only a coincidence, that he just happened to see Attavanti praying in church, and that Tosca is the only woman for him. She instantly realizes the Magdalene portrait shares a face with none other than the Marquess Attavanti (yup, Angelotti’s sister) and accuses Cavaradossi of having an affair with the blond beauty. They then make plans to meet up later that evening, and everything is sunshine and roses…until Tosca catches sight of Cavaradossi’s painting. Turns out Cavaradossi is right to be cautious.Ĭonvinced her painter has been meeting with another woman behind her back, Tosca quickly flies into a jealous fit, but Cavaradossi succeeds in calming her down. Knowing Tosca is a naturally suspicious woman, Cavaradossi tells Angelotti to hide. With the sacristan out of sight, Cavaradossi is about to pledge his undying loyalty, but the two men are interrupted by Tosca, who’s arrived to offer flowers to the Virgin Mary (but, really, to pay her Mario a visit). Inspired by a mysterious woman, Cavaradossi has given his Magdalene blond hair and blue eyes––but in real life, he only has eyes for his own dark-eyed love, Floria Tosca (TOHS-kah), the most famous opera diva in Rome.Īngelotti recognizes Cavaradossi as a fellow democrat and approaches the painter, asking for help.
Just as he slips behind the Attavanti chapel doors, a sacristan enters, followed by Mario Cavaradossi (kah-vah-rah-DOHSS-ee), a painter who’s been working on a church portrait of Mary Magdalene. His sister, the Marquess Attavanti (ah-tah-VAHN-tee), has promised to leave some clothes beneath the altar of her private family chapel so he can flee in disguise and avoid Baron Scarpia.īut Angelotti has some unexpected company. Newly escaped from prison, Cesare Angelotti (CHEH-zah-reh ahn-jehl-OHT-tee)––a member of the former Roman Republic––staggers into the Church of Sant’Andrea della Valle.
With the future of the Roman territories uncertain and civil unrest on the rise, the streets are now run by the brutal Baron Scarpia (SKAHR-pya), chief of the royal police. In the “eternal city” of Rome, one of the many Italian revolutionary republics has recently been suppressed by forces loyal to an Italian king.
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