A search reveals an empty food basket in the Attavanti chapel, together with a fan bearing the family’s crest. The altar boys’ revels end abruptly, however, at the arrival of Baron Scarpia, the Chief of Police, whose men have tracked Angelotti to the church.
The Sacristan returns: a great political victory has been won, a Te Deum is to be sung in celebration, and Tosca will perform at the Farnese Palace that evening. Angelotti emerges from hiding as the prison cannon announces that his escape has been discovered. Cavaradossi calms her: they agree to meet later. Cavaradossi soothes her, until she sees the Magdalene portrait. Tosca, however, has heard their voices in the church when she finds Mario alone, her jealousy is aroused. Hearing Tosca’s voice outside, he gives Angelotti a basket of food and hurries him into hiding once more. Cavaradossi recognises him and promises to help. As the Sacristan leaves, Angelotti emerges. The picture, he admits, has been inspired both by his mistress, the singer Floria Tosca, and by a young woman he has seen at prayer in the church.
As the Sacristan kneels in prayer for the Angelus, Mario Cavaradossi arrives to continue work on a painting of Mary Magdalene. He finds refuge in the Attavanti family chapel, using a key hidden in the church by his sister, the Marchesa Attavanti. The Church of Sant’Andrea della Valle in Rome.Ĭesare Angelotti, a political prisoner, has escaped from the Castel Sant’Angelo.
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