The Church of Sant’Andrea della Valle, Rome
Angelotti, former Consul of the Republic of Rome and now a political prisoner who has escaped from prison, enters exhausted. He hides in the chapel of his sister, the Marchesa Attavanti. The artist Cavaradossi is working on an image of Mary Magdalene. The Sacristan is shocked that the painting resembles a woman in his congregation. Cavaradossi denies the resemblance: only Tosca occupies his thoughts and his brush could paint the features of no-one else. After the Sacristan leaves Angelotti emerges from the chapel. He knows the artist and trusts him, and so he begs for assistance. Hearing Tosca’s voice, he hides again. The singer notices the painting of Mary Magdalene resembles the Marchesa Attavanti. Tosca’s jealousy erupts but the artist manages to pacify her. Floria leaves and Cavaradossi offers the fugitive refuge in his home. Gunshots are heard – the escape has been discovered. The men hurry away.
A celebratory mass begins. Scarpia, chief of police of Rome, and police agent Spoletta are among the worshippers. They are interested in the Attavanti Chapel where they expect to discover Angelotti, but find a fan left there by the Marchesa and an empty food basket. Seeing Tosca return to the church in the hopes of seeing her beloved again, Scarpia decides to seize his opportunity. He cunningly provokes Floria’s jealousy. When she runs out of the church, Scarpia sends police agents after her, believing that the infuriated Tosca will lead them to the artist’s secret hiding place.

The Farnese Palace
Scarpia is in his apartments awaiting news from his agents. His expectations are only half fulfilled: Tosca did lead them to Cavaradossi who has now been arrested but Angelotti remains at liberty. Scarpia hopes to torture the artist into revealing the truth and orders Tosca be brought to him. The chief of police himself begins Cavaradossi’s interrogation but to no avail. The artist manages to whisper to Tosca to keep the secret at all cost. He is led off to be tortured. His groans and screams make Floria lose her self-control and she reveals the secret hiding place in the garden. Scarpia orders an end to the torture.
In agony, Cavaradossi is thrown at Tosca’s feet by the soldiers. He hears the chief of police and understands that the secret has been revealed. He curses Tosca. Scarpia orders that he be taken away and executed in the morning. In answer to Tosca’s pleas, he says he will spare Cavaradossi’s life if she will be his. In Tosca’s presence the chief of police gives an ambiguous command and issues a pass for her and Cavaradossi, allowing them to leave Rome. Tosca, however, does not realise that the execution will be real. Scarpia runs towards Tosca and, defending herself, she kills him. Staring at the corpse in horror, she carefully removes the pass from Scarpia’s hand and slips out of the palace.

The platform of the Castel Sant’Angelo
Cavaradossi’s execution is to take place here. Overwrought, Tosca rushes in and explains it is to be a mock execution. Mario has to play his part well so the soldiers suspect nothing, and then they can flee the city. The soldiers appear. They fire and the artist falls to the ground. Floria calls his name in vain. Realising he is dead, Tosca throws herself from the parapet.

Act 1

Inside the church of Sant'Andrea della Valle

Scene depicting a church interior with high stained-glass windows and heavy ornamental columns. The central figure is a high dignatory around whom several figures are kneeling, while in the background can be seen the tall pikes of the Swiss Guard.
Cesare Angelotti, former consul of the Roman Republic and now an escaped political prisoner, runs into the church and hides in the Attavanti private chapel – his sister, the Marchesa Attavanti, has left a key to the chapel hidden at the feet of the statue of the Madonna. The elderly Sacristan enters and begins cleaning. The Sacristan kneels in prayer as the Angelus sounds.

The painter Mario Cavaradossi arrives to continue work on his picture of Mary Magdalene. The Sacristan identifies a likeness between the portrait and a blonde-haired woman who has been visiting the church recently (unknown to him, it is Angelotti's sister the Marchesa). Cavaradossi describes the "hidden harmony" ("Recondita armonia") in the contrast between the blonde beauty of his painting and his dark-haired lover, the singer Floria Tosca. The Sacristan mumbles his disapproval before leaving.

Angelotti emerges and tells Cavaradossi, an old friend who has republican sympathies, that he is being pursued by the Chief of Police, Baron Scarpia. Cavaradossi promises to assist him after nightfall. Tosca's voice is heard, calling to Cavaradossi. Cavaradossi gives Angelotti his basket of food and Angelotti hurriedly returns to his hiding place.

Tosca enters and suspiciously asks Cavaradossi what he has been doing – she thinks that he has been talking to another woman. Cavaradossi reassures her and Tosca tries to persuade him to take her to his villa that evening: "Non la sospiri, la nostra casetta" ("Do you not long for our little cottage"). She then expresses jealousy over the woman in the painting, whom she recognises as the Marchesa Attavanti. Cavaradossi explains the likeness; he has merely observed the Marchesa at prayer in the church. He reassures Tosca of his fidelity and asks her what eyes could be more beautiful than her own: "Qual'occhio al mondo" ("What eyes in the world").

After Tosca has left, Angelotti reappears and discusses with the painter his plan to flee disguised as a woman, using clothes left in the chapel by his sister. Cavaradossi gives Angelotti a key to his villa, suggesting that he hide in a disused well in the garden. The sound of a cannon signals that Angelotti's escape has been discovered. He and Cavaradossi hasten out of the church.

The Sacristan re-enters with choristers, celebrating the news that Napoleon has apparently been defeated at Marengo. The celebrations cease abruptly with the entry of Scarpia, his henchman Spoletta and several police agents. They have heard that Angelotti has sought refuge in the church. Scarpia orders a search, and the empty food basket and a fan bearing the Attavanti coat of arms are found in the chapel. Scarpia questions the Sacristan, and his suspicions are aroused further when he learns that Cavaradossi has been in the church; Scarpia mistrusts the painter, and believes him complicit in Angelotti's escape.

When Tosca arrives looking for her lover, Scarpia artfully arouses her jealous instincts by implying a relationship between the painter and the Marchesa Attavanti. He draws Tosca's attention to the fan and suggests that someone must have surprised the lovers in the chapel. Tosca falls for his deceit; enraged, she rushes off to confront Cavaradossi. Scarpia orders Spoletta and his agents to follow her, assuming she will lead them to Cavaradossi and Angelotti. He privately gloats as he reveals his intentions to possess Tosca and execute Cavaradossi. A procession enters the church singing the Te Deum; exclaiming 'Tosca, you make me forget even God!', Scarpia joins the chorus in the prayer.

Act 2

The body of a man lies supine, with a woman, crucifix in hand, kneeling over him. A candle is placed to each side of his head.
Scarpia's apartment in the Palazzo Farnese, that evening

Scarpia, at supper, sends a note to Tosca asking her to come to his apartment, anticipating that two of his goals will soon be fulfilled at once. His agent, Spoletta, arrives to report that Angelotti remains at large, but Cavaradossi has been arrested for questioning. He is brought in, and an interrogation ensues. As the painter steadfastly denies knowing anything about Angelotti's escape, Tosca's voice is heard singing a celebratory cantata elsewhere in the Palace.

She enters the apartment in time to see Cavaradossi being escorted to an antechamber. All he has time to say is that she mustn't tell them anything. Scarpia then claims she can save her lover from indescribable pain if she reveals Angelotti's hiding place. She resists, but the sound of screams coming through the door eventually breaks her down, and she tells Scarpia to search the well in the garden of Cavaradossi's villa.

Scarpia orders his torturers to cease, and the bloodied painter is dragged back in. He's devastated to discover that Tosca has betrayed his friend. Sciarrone, another agent, then enters with news: there was an upset on the battlefield at Marengo, and the French are marching on Rome. Cavaradossi, unable to contain himself, gloats to Scarpia that his rule of terror will soon be at an end. This is enough for the police to consider him guilty, and they haul him away to be shot.

Scarpia, now alone with Tosca, proposes a bargain: if she gives herself to him, Cavaradossi will be freed. She is revolted, and repeatedly rejects his advances, but she hears the drums outside announcing an execution. As Scarpia awaits her decision, she prays, asking why God has abandoned her in her hour of need: "Vissi d'arte" ("I lived for art"). She tries to offer money, but Scarpia isn't interested in that kind of bribe: he wants Tosca herself.

Spoletta returns with the news that Angelotti has killed himself upon discovery, and that everything is in place for Cavaradossi's execution. Scarpia hesitates to give the order, looking to Tosca, and despairingly she agrees to submit to him. He tells Spoletta to arrange a mock execution, both men repeating that it will be "as we did with Count Palmieri," and Spoletta exits.

Tosca insists that Scarpia must provide safe-conduct out of Rome for herself and Cavaradossi. He easily agrees to this and heads to his desk. While he's drafting the document, she quietly takes a knife from the supper table. Scarpia triumphantly strides toward Tosca. When he begins to embrace her, she stabs him, crying "this is Tosca's kiss!" Once she's certain he's dead, she ruefully says "now I forgive him." She removes the safe-conduct from his pocket, lights candles in a gesture of piety, and places a crucifix on the body before leaving.

Act 3

The upper parts of the Castel Sant'Angelo, early the following morning

Roman panorama showing, centre, an arched bridge over a river with a domed building in the distance. To the right of the bridge is a large circular fortress.
A shepherd boy is heard offstage singing (in Romanesco dialect) "Io de' sospiri" ("I give you sighs") as church bells sound for matins. The guards lead Cavaradossi in and inform him that he has one hour to live. He declines to see a priest, but asks permission to write a letter to Tosca. He begins to write, but is soon overwhelmed by memories: "E lucevan le stelle" ("And the stars shone").

Tosca enters and shows him the safe-conduct pass she's obtained, adding that she has killed Scarpia and that the imminent execution is a sham. Cavaradossi must feign death, after which they can flee together before Scarpia's body is discovered. Cavaradossi is awestruck by his gentle lover's courage: "O dolci mani" ("Oh sweet hands"). The pair ecstatically imagines the life they will share, far from Rome. Tosca then anxiously coaches Cavaradossi on how to play dead when the firing squad shoots at him with blanks. He giddily promises he'll fall "like Tosca in the theatre."

Cavaradossi is led away, and Tosca watches with increasing impatience as the execution is prepared. The men fire, Cavaradossi falls, and Tosca exclaims "Ecco un artista!" ("What an actor!"). When the soldiers have all left, she hurries towards Cavaradossi, only to find that Scarpia betrayed her: the bullets were real. Heartbroken, she clasps her lover's lifeless body and weeps.

The voices of Spoletta, Sciarrone, and the soldiers are heard, shouting that Scarpia is dead and Tosca has killed him. As the men rush in, Tosca rises, evades their clutches, and runs to the parapet. Crying "O Scarpia, Avanti a Dio!" ("O Scarpia, we meet before God!"), she flings herself over the edge to her death.