Excerpt: Tosca, Act III

One of the major operatic horn excerpts.

In the Arizona Opera, we are currently performing Puccini’s Tosca. It contains one of the most commonly asked passages in any opera horn audition, the opening of Act III. All four horns begin the Act solo with a majestic theme performed in unison.

Even if you don’t plan on taking an opera audition, it is good to know this excerpt in addition to the Siegfried calls. In a solo audition, it can reveal much about the player:

• tone quality in loud dynamics
• intonation – relationships between intervals
• overall musical style

Tone quality

The youthful temptation is to perform this excerpt with much fortitude and gusto. While I am all for mucho gusto, the fortissimo sound must always be beautiful and not forced or angry-sounding.

If reducing the decibel level 5% achieves this beauty, I would highly recommend doing so. The choice between a controlled fortissimo at 85 db and blasting uncontrollably at 90db should be obvious.

Be sure to peak at measures 9 to 11. The sostenuto indicates that these notes should be longer than those in the opening measures. This is where the soprano and tenor, who sing this melody later in the same Act, get the loudest.

Intonation

The first three notes must be dead on in tune, especially the octave interval. In a large room, a misplaced octave will stick out like a sore thumb.

On the written C in m.2, resist the temptation to force the note and sustain a loud intensity just to prove a point. It is marked with a sforzando articulation – the note can even taper if done so with conviction.

Style

The style in this passage is a huge factor. Typically this passage is performed with liberties, foreshadowing the tenor and soprano rendition later in the opera.

• Measure 3 starts a bit slower and a bit softer, and the tempo moves ahead to measure 7 – similar to the precipitato writing in Gustav Mahler’s 3rd symphony.

  - or -

  Measure 3 starts at tempo, then broadens to the held note at measure 7.

• In measure 9, the pulse broadens for a few bars, but the overall tempo stays steady until the end.

  - or -

  At measure 9, a long

  rallentando

  begins, all the way to Rehearsal #1.

So, there are several ways to perform this excerpt. Ultimately be the conductor’s choice in concert on how it goes.

In an audition however, personal choices need to be made. Just playing the notes as written will not make a strong impression. With a teacher’s guidance, construct a plan on how you want to perform the passage, and then execute it – with conviction.