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This paper explores the representations of suicide among three titular heroines in Giacomo Puccini’s operas: Tosca, Suor Angelica, and Cio-Cio-San. As women in highly rigid patriarchal societies, these characters are relegated to lives dictated by oppressive outside forces of anti-feminine culture. I argue that the suicides of these characters are…
This paper explores the representations of suicide among three titular heroines in Giacomo Puccini’s operas: Tosca, Suor Angelica, and Cio-Cio-San. As women in highly rigid patriarchal societies, these characters are relegated to lives dictated by oppressive outside forces of anti-feminine culture. I argue that the suicides of these characters are not a representation of intrinsic weakness but are an exhibition of independence and agency to control their own fates. This research combines the specific disciplines of suicidology, feminism, opera criticism and the soprano voice. While there are plentiful resources covering Puccini’s biographical information and theoretical analyses of each opera, this paper fills an existing gap in its performance-centered research approach. Interviews with celebrated interpreters of these heroines present a personal perspective behind the vocal, physical, and emotional demands of performing these roles. A detailed look at the words of the libretti and letters from Puccini himself provide insight into his desire to infuse these characters with strength and intelligence. The significance behind the composer’s preference for large, powerful voices known as the lirico-spinto soprano is also explored. The operatic suicides of Tosca, Suor Angelica, and Cio-Cio-San each exhibit autonomy and strength, debunking the stereotype of the “tragic soprano.” A holistic and detailed survey of these heroines reveals that their suicides transform them into women who are no longer passive—the acted upon become the actor.
