Opera Arias #1: Tosca's 'Vissi D'arte'

'Vissi D'arte' is arguably one of the most famous soprano arias ever written. It appears near the end of Act II of Puccini's opera 'Tosca', first performed over one hundred years ago, on 14th January 1900, in Rome, Italy. Tosca, the main character, sings it in total anguish, in the form of a prayer to God, asking 'why he rewards her thus?' Just before the aria is performed (and the reason for its presence) Baron Scarpia, the chief of police, tells Tosca that, in order to save her lover Cavaradossi's life - he is sentenced to death by firing squad - she must sleep with him. 'Vissi D'arte' is essentially Tosca's cry of anguish; she reasons that, although she has never done anything wrong, she is still being faced with an impossible choice: either way, she will have to betray Cavaradossi, in the form of sleeping with another man, or not doing everything she could to save his life.

Czech soprano Emmy Destinn as Tosca, ca. 1914

The the first two lines of the aria, from the opening words 'Vissi d'arte' to the last words in the second line 'ad anima viva' are in the key of Eb minor and have the time signature 2/4. This changes, from the following line, which begins with the word 'Sempre', to the end of the aria - the new key signature is Eb major, and the new time signature is common time, or 4/4. The words, written above the first three bars, 'Lento Appassionato', meaning slow passion in English, are relevant throughout the entire piece, for it is fundamentally Tosca's slow, intense, sorrowful prayer. The part of Tosca is one written for a soprano, therefore the aria is typically sung by one in galas and performances, however mezzo-sopranos such as Russian Elena Obraztsova, have sung it (a link to her performance can be found here. The range of 'Vissi D'arte' spans one and a half octaves, from the Eb after middle C, to the Bb a full tone below high C (or 'soprano C'). The aria is sometimes transposed down a tone, so that the highest note is an A (I believe an example of the aria being transposed down can be found here; it is a version performed by American soprano Leontyne Price. A version performed in the original key can be found here; it is sung by American-Greek soprano Maria Callas). Dynamics in 'Vissi D'arte' starkly contrast - the beginning is performed pianissimo, and gradually increases in volume: the high Bb flat is performed forte. After that, the piece undergoes a sharp decrescendo, once again back to pianissimo, where it remains until the end of the aria.

American/Greek soprano Maria Callas as Tosca, ca 1964

'Vissi D'arte' is arranged in four verses: the first verse speaks of how Tosca 'lived for art' (the direct translation of the aria's title), never harmed anyone, and always tried to correct any and all mistakes she ever made. The next verse talks about how she was always faithful to God, always prayed and laid flowers at the altar. The last two verses are Tosca's screams of why did she deserve this fate, when she had tried to live her life as a compassionate, selfless human being, who cared and respected others. The lyrics are extremely powerful, in my opinion, and make you feel outraged on her behalf - she does not deserve to be put in this awful position.

South African soprano Amanda Echalaz as Tosca, 2013

Interestingly enough, the aria almost never made it to the final version of 'Tosca' - Puccini felt that there was a significant difference between the dynamics and tempo of the aria compared to the rest of Act II, which had been heated exchanged between Baron Scarpia, Cavaradossi, and Tosca herself. The writer Julian Buddem argued that. The Italian critic Luigi Torchi said that 'Vissi D'arte' was 'a curious dramatic improbability of no musical significance', based upon the fact that the aria often feels like a performance itself, a break away from the rest of Act II. I believe the aria's presence is important, as it stuns the audience, and offers a glimpse into Tosca's heart and soul; the audience doesn't receive any other opportunity for this in the opera. Arguing in favour of the aria remaining in the opera, the author Julian Budden said: 'at this supreme crisis it is plausible that the singer's past should unroll before her in an expanded moment: a life devoted to art, love and religious observance'. Maria Callas also said that she felt concerned over the aria, as it had the power to bring 'Tosca' to a halt, losing the tension that Act I and Act II before it had created - she also thought it should be cut. But, thankfully, the audience loved the aria, therefore it stayed in the opera.

American soprano Patricia Racette as Tosca, 2011

'Vissi D'arte' could be called one of the most dramatic and captivating arias of all time, for when it is sung with true physical and emotional capability, creates a plethora of emotions and thoughts. It is a truly beautiful, hypnotic, stunning piece of opera, one that has been loved by viewers and audiences worldwide, for over a hundred years, and all of the years to come.

My favourite version of 'Vissi D'arte': Romanian soprano Angela Gheorghiu's performance, from 2011. I couldn't decide whether I preferred Angela's version, or Maria Callas's version, but Angela's stunning Bb5 is what made me decide to go with her. Rarely is a 'Vissi d'arte' not only sung technically beautifully, but with so much passion and despair. Her 2011 performance is linked in her name; a gif of the same performance can be found below.

Until next time,
India