Act IV. The scene is again the attic of the four Bohemians. _Rudolph

is longing for _Mimi_, of whom he has heard nothing, _Marcel_ for _Musetta_, who, having left him, is indulging in one of her gay intermezzos with one of her wealthy patrons. "Ah, Mimi, tu più" (Ah, Mimi, fickle-hearted), sings _Rudolph_, as he gazes at the little pink bonnet he bought her at the milliner's shop Christmas eve. _Schaunard_ thrusts the water bottle into _Colline's_ hat as if the latter were a champagne cooler. The four friends seek to forget sorrow and poverty in assuming mock dignities and then indulging in a frolic about the attic. When the fun is at its height, the door opens and _Musetta_ enters. She announces that _Mimi_ is dying and, as a last request, has asked to be brought back to the attic, where she had been so happy with _Rudolph_. He rushes out to get her, and supports her feeble and faltering footsteps to the cot, on which he gently lowers her.

She coughs; her hands are very cold. _Rudolph_ takes them in his to warm them. _Musetta_ hands her earrings to _Marcel_, and bids him go out and sell them quickly, then buy a tonic for the dying girl. There is no coffee, no wine. _Colline_ takes off his overcoat, and, having apostrophized it in the "Song of the Coat," goes out to sell it, so as to be able to replenish the larder. _Musetta_ runs off to get her muff for _Mimi_, her hands are still so cold.

_Rudolph_ and the dying girl are now alone. This tragic moment, when their love revives too late, finds expression, at once passionate and exquisite, in the music. The phrases "How cold your hand," "They call me Mimi," from the love scene in the first act, recur like mournful memories.

_Mimi_ whispers of incidents from early in their love. "Te lo rammenti" (Ah! do you remember).

[Music]

_Musetta_ and the others return. There are tender touches in the good offices they would render the dying girl. They are aware before _Rudolph_ that she is beyond aid. In their faces he reads what has happened. With a cry, "Mimi! Mimi!" he falls sobbing upon her lifeless form. _Musetta_ kneels weeping at the foot of the bed. _Schaunard_, overcome, sinks back into a chair. _Colline_ stands dazed at the suddenness of the catastrophe. _Marcel_ turns away to hide his emotion.

Mi chiamano Mimi!

TOSCA

Opera in three acts by Puccini; words by L. Illica and G. Giacosa after the drama, "La Tosca," by Sardou. Produced, Constanzi Theatre, Rome, January 14, 1900; London, Covent Garden, July 12, 1900. Buenos Aires, June 16, 1900. Metropolitan Opera House, New York, February 4, 1901, with Ternina, Cremonini, Scotti, Gilibert (_Sacristan_), and Dufriche (_Angelotti_).

CHARACTERS

FLORIA TOSCA, a celebrated singer _Soprano_ MARIO CAVARADOSSI, a painter _Tenor_ BARON SCARPIA, Chief of Police _Baritone_ CESARE ANGELOTTI _Bass_ A SACRISTAN _Baritone_ SPOLETTA, police agent _Tenor_ SCIARRONE, a gendarme _Bass_ A GAOLER _Bass_ A SHEPHERD BOY _Contralto_

Roberti, executioner; a cardinal, judge, scribe, officer, and sergeant, soldiers, police agents, ladies, nobles, citizens, artisans, etc.

_Time_--June, 1800.

_Place_--Rome.

Three sharp, vigorous chords, denoting the imperious yet sinister and vindictive character of _Scarpia_--such is the introduction to "Tosca."

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