The stage is Rome in 1800. The singer Toska is in love with the painter Knight Kavaladossi. The painter helps the jailbroken political prisoner Angelotti, but Toska suspects her affair because her lover looks suspicious. Police Chief Skullpia arouses her Tosca jealousy and captures Angelotti, who plans to make her beautiful girlfriend herself. In exchange for the life of the captured Kavaladossi, Skullpia seeks her body in Tosca. Toska breaks, but she stabs Skullpia with a knife she happens to find. She shows Kavaladossi a pass permit written by the police chief and explains that her execution is a sham, but the painter is really executed. When Skullpia's killing is discovered and her pursuit approaches, Toska throws herself from her rooftop.
It's a really thrilling development. What's more, all four of them have reached the end of their non-work, and all these tragedy will be completed within 24 hours. There is a "classical unities" in the theory of classical theater. The first item is "a single time" that "the incident must be completed in one day", and if this works well, the drama will be closed.
By the way, the impression of "Tosca" tends to change depending on how you spend money on the stage. The stage of this opera, which premiered in 1900, is the church of Sant'Andrea della Valle in the first act, the Farnese palace in the second act, and the castle of Sant'Angelo in the third act. .. Depending on how realistically you draw it, the degree of urgency and the degree of immersion in the drama on the part of the viewer will greatly differ.
The Royal Opera House's "Tosca" directed by Jonathan Kent is not half-finished in the stage of each act. For example, the church in Act 1. From the texture of the handrail to the way the walls and stones are reproduced, it is thoroughly realistic. The structure and details are different from the church that was the stage, but by making it easy to see as a stage, it seems that things are really going on in Rome in 1800. Beautiful historical costumes also help.