Editing Tosca (section)

== Adaptation and writing ==
Sardou's five-act play ''La Tosca'' contains a large amount of dialogue and exposition. While the broad details of the play are present in the opera's plot, the original work contains many more characters and much detail not present in the opera. In the play the lovers are portrayed as though they were French: the character Floria Tosca is closely modelled on Bernhardt's personality, while her lover Cavaradossi, of Roman descent, is born in Paris. Illica and [[Giuseppe Giacosa]], the playwright who joined the project to polish the verses, needed not only to cut back the play drastically, but to make the characters' motivations and actions suitable for Italian opera.<ref>Nicassio, p. 18</ref><!-- Quote from source "Sardou's Floria Tosca is of course Sarah Bernhardt herself—sophisticated, vindictive, easy of virtue and given to tantrums" --> Giacosa and Puccini repeatedly clashed over the condensation, with Giacosa feeling that Puccini did not really want to complete the project.<ref>Phillips-Matz, p. 112</ref>
[[File:Tosca libretto cover.jpg|thumb|upright|alt=Front cover decorated by a rose branch that curls from bottom left to top right. The wording reads: "V. Sardou, L. Illica, G. Giacosa: Tosca. Musica di G. Puccini. Edizione Ricordi"|Front cover of the original 1899 libretto]]
The first draft libretto that Illica produced for Puccini resurfaced in 2000 after being lost for many years. It contains considerable differences from the final libretto, relatively minor in the first two acts but much more appreciable in the third, where the description of the Roman dawn that opens the third act is much longer, and Cavaradossi's tragic aria, the eventual "E lucevan le stelle", has different words. The 1896 libretto also offers a different ending, in which Tosca does not die but instead goes mad. In the final scene, she cradles her lover's head in her lap and hallucinates that she and her Mario are on a gondola, and that she is asking the gondolier for silence.<ref>Nicassio, pp. 272–274</ref> Sardou refused to consider this change, insisting that as in the play, Tosca must throw herself from the parapet to her death.<ref name="Nic227">Nicassio, p. 227</ref> Puccini agreed with Sardou, telling him that the mad scene would have the audiences anticipate the ending and start moving towards the cloakrooms. Puccini pressed his librettists hard, and Giacosa issued a series of melodramatic threats to abandon the work.<ref name="Fisher-23">Fisher, p. 23</ref> The two librettists were finally able to give Puccini what they hoped was a final version of the libretto in 1898.<ref name="B185">Budden, p. 185</ref>

Little work was done on the score during 1897, which Puccini devoted mostly to performances of ''[[La bohème]]''.<ref name="B185" /> The opening page of the autograph ''Tosca'' score, containing the [[motif (music)|motif]] that would be associated with Scarpia, is dated January 1898.<ref>Budden, p. 189</ref> At Puccini's request, Giacosa irritably provided new lyrics for the act 1 love duet. In August, Puccini removed several numbers from the opera, according to his biographer, [[Mary Jane Phillips-Matz]], "cut[ting] ''Tosca'' to the bone, leaving three strong characters trapped in an airless, violent, tightly wound melodrama that had little room for lyricism".<ref name="airless">Phillips-Matz, p. 115</ref> At the end of the year, Puccini wrote that he was "busting his balls" on the opera.<ref name="airless" /><!-- Original Italian "Mi rompo i coglioni" -->

Puccini asked clerical friends for words for the congregation to mutter at the start of the act 1 [[Te Deum]]; when nothing they provided satisfied him, he supplied the words himself.<ref name="airless" /> For the Te Deum music, he investigated the melodies to which the hymn was set in Roman churches, and sought to reproduce the cardinal's procession authentically, even to the uniforms of the [[Swiss Guards]].<ref name="Fisher-23" /> He adapted the music to the exact pitch of the great bell of [[St. Peter's Basilica]],<ref name="Fisher20" /><ref name="Fisher-23" /> and was equally diligent when writing the music that opens act 3, in which Rome awakens to the sounds of church bells.<ref name="Fisher20" /><ref name="Fisher-23" /> He journeyed to Rome and went to the Castel Sant'Angelo to measure the sound of [[matins]] bells there, as they would be heard from its ramparts.<ref name="Fisher-23" /> Puccini had bells for the Roman dawn cast to order by four different foundries.<ref>Burton et al., p. 278</ref> This apparently did not have its desired effect, as Illica wrote to [[Giulio Ricordi|Ricordi]] on the day after the premiere, "the great fuss and the large amount of money for the bells have constituted an additional folly, because it passes completely unnoticed".<ref>Nicassio, p. 306</ref> Nevertheless, the bells provide a source of trouble and expense to opera companies performing ''Tosca'' to this day.<ref name="Nic227" />

In act 2, when Tosca sings offstage the [[cantata]] that celebrates the supposed defeat of Napoleon, Puccini was tempted to follow the text of Sardou's play and use the music of [[Giovanni Paisiello]], before finally writing his own [[pastiche|imitation of Paisello's style]].<ref name="Os139">Osborne, p. 139</ref> It was not until 29&nbsp;September 1899 that Puccini was able to mark the final page of the score as completed. Despite the notation, there was additional work to be done,<ref name="poetry" /> such as the shepherd boy's song at the start of act 3. Puccini, who always sought to put local colour in his works, wanted that song to be in [[Romanesco dialect|Roman dialect]]. The composer asked a friend to have a "good romanesco poet" write some words; eventually the poet and folklorist {{Interlanguage link multi|Giggi Zanazzo|it|3=Giggi Zanazzo|lt=Luigi "Giggi" Zanazzo}} wrote the verse which, after slight modification, was placed in the opera.<ref name="poetry">Budden, p. 194</ref>

In October 1899, Ricordi realized that some of the music for Cavaradossi's act 3 aria, "O dolci mani" was borrowed from music Puccini had cut from his early opera, ''[[Edgar (opera)|Edgar]]'' and demanded changes. Puccini defended his music as expressive of what Cavaradossi must be feeling at that point, and offered to come to Milan to play and sing act 3 for the publisher.<ref>Budden, pp. 194–195</ref> Ricordi was overwhelmed by the completed act 3 prelude, which he received in early November, and softened his views, though he was still not completely happy with the music for "O dolci mani".<ref>Budden, p. 195</ref> In any event time was too short before the scheduled January 1900 premiere to make any further changes.<ref>Phillips-Matz, p. 116</ref>