The Importance of Location in Opera

The Importance of Location in Opera Maria Callas the great diva is reputed to have stated in one of her interviews that Puccini’s opera Tosca would not have suffered if the composer did not include the soprano aria “Vissi d’arte” (I lived for art). In her opinion the aria is superfluous. But, since Puccini chose to include this marvelous aria, we must conclude that he did so with intent; that it has significance and is an integral part of the story that Puccini wished to tell. In addition, Puccini’s decision to place it where he did in the plot, is relevant to our understanding Tosca’s character. It remains for us to reveal Puccini’s intent.The aria is sung by Tosca towards the latter part of Act II. Scarpia, Rome’s villainous Chief of Police had apprehended Tosca’s lover Cavaradossi for committing subversive activities against the government and has ordered the former’s torture. Tosca cannot bear to hear her lover’s anguished screams and is prepared to pay a price for Cavaradossi’s release. Scarpia scoffs at Tosca’s supposed offer of money. (One wonders about her naivety); he wants to possess her. As Scarpia makes his physical advances towards her, Tosca desperately strives to stave him off. It is here that Puccini introduces the splendid aria in which Tosca asks God why he makes her suffer so for she has always been his faithful servant. [https://youtu.be/SFCMk5zgItI] Relevant to our consideration here is Puccini’s deft use of the accompaniment to make his point. After beginning with an innocuous accompaniment, Puccini subtlety introduces a familiar melody [1:10 -1:38] beginning with the words “Sempre con fe sincere” (Always with sincere faith). It is the same theme that we heard upon Tosca’s first entrance in Act I [https://youtu.be/tRLAGdPxvCE 11:40 -12:20] “Mario, Mario…il vuol de sagrestano” (…it’s the sacristan’s will).The theme returns in the aria’s second half beginning with the words “Diedi gioielli della Madonna al manto” (Jewels I brought for the Madonna’s mantle) [https://youtu.be/SFCMk5zgItI] 2:24 – 2:55]. The repeat is relevant to the section in Act I starting with “No, Mario mio! Lascia pria le preghi, che l’infiori” (No Mario! First let me pray and offer these flowers [at the foot of the altar]).[https://youtu.be/tRLAGdPxvCE 13:00 – 13:47]. By simple logic of association, the composer establishes a psychological connection using the same musical theme in two (or more) places in the score. And while this observation seems so elementary, most listeners barely notice its existence. What significance is all this discussion and what is its purpose? In the first reference to Act I in the aria (Sempre con fe sincere), the subject is faith, whether in its religious or personal meaning such as faithfulness – we recall Tosca’s suspicion of Cavaradossi’s infidelity; its recurrence in the second part of the aria (Diedi gioielli della Madonna al manto) focuses on her insistence to place flowers at the foot of the altar before acquiescing to Cavaradossi’s romantic attitude. That is duty first. For us to understand Puccini’s use of the connecting theme, we must entertain the possibility that it represents a psychological insight into Tosca’s behavior at a point where she is struggling to retain her honor and perhaps to ward off a threat to her physical safety. She is at her wit’s end; entertaining an interpretation that Tosca is experiencing pangs of conscience for having doubted Cavaradossi’s fidelity (part1) and her inordinate insensitivity to his manifestation of love (part 2) is a viable possibility. Credence is given to this interpretation by the observation that the subject of the aria is, allegedly, wrongful suffering and retribution for something. Employing this ingenious concept in musical terms increases our understanding of the plot and our appreciation of the composer’s personal involvement.