Unnerved by Scarpia’s questioning and the sound of Mario’s screams, she reveals Angelotti’s hiding place. She enters just as her lover is being taken to an adjoining room: his silence is to be broken under torture. The spy Spoletta arrives, not having found Angelotti to placate the baron he brings in Mario, who is interrogated while Tosca is heard singing a cantata at a royal gala on the other side of the courtyard. In the Farnese Palace, Scarpia anticipates the pleasure of bending Tosca to his will. Scarpia has the diva trailed scheming to get her in his power. Thinking Mario faithless, Tosca tearfully vows vengeance and leaves. When Tosca comes back to her lover, Scarpia shows her a fan with the Attavanti crest, which he has just found. Their excitement is silenced by the entrance of Baron Scarpia, chief of the police, in search of Angelotti. Meanwhile, the Sacristan returns with choirboys who are to sing in a Te Deum. When she has gone, Mario summons Angelotti from the chapel a cannon signals that the police have discovered the escape, so the two flee to Mario’s villa. Recognising the marchesa’s likeness in the painting, she explodes with renewed suspicions, but he reassures her. Forever suspicious, she jealously questions Mario, then prays, and reminds him of their rendez-vous that evening at his villa after her performance. Angelotti ventures out and is recognized by his friend and fellow liberal Mario, who gives him food and hurries him back into the chapel as Tosca is heard calling outside. The Sacristan mumbles disapprovingly and leaves. Mario contrasts the beauty of the marchesa with that of the woman he loves, the singer Floria Tosca. Mario Cavaradossi enters to work on his portrait of Mary Magdalene – inspired by the Marchesa Attavanti (Angelotti’s sister). As he vanishes, an old Sacristan shuffles in, praying at the sound of the Angelus.

Cesare Angelotti, an escaped political prisoner, rushes into the church of Sant’ Andrea della Valle to hide in the Attavanti chapel.

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