The church of Sant’Andrea della Valle.

Angelotti, an escaped political prisoner, rushes into the church. His sister has hidden the key to the Attavanti family chapel at the foot of the statue of Mary. After some difficulty, he finds the key and hides in the chapel just as the busybody Sacristan enters. The Sacristan sourly comments on having to clean brushes for Cavaradossi, an artist who is painting a portrait of Mary Magdalene in the church. At the sound of the Angelus, the Sacristan kneels to pray. He is interrupted by Cavaradossi, who has returned to work on his mural, the model for which is a beautiful unknown woman who has been praying in the church daily. Under the Sacristan’s disapproving eye, Cavaradossi works on the painting; he compares the beauty of the blonde, blue-eyed Magdalene with that of the woman he loves, the raven-haired singer Floria Tosca (“Recondita armonia”). The Sacristan shuffles away, noting that Cavaradossi will be leaving his supper basket untouched.

Angelotti ventures out from hiding. Cavaradossi, an old friend and fellow revolutionary sympathizer, does not recognize him at first, for his imprisonment has changed him greatly. Angelotti was once the consul of the overthrown Roman Republic. He tells Cavaradossi of his escape, and Cavaradossi vows to help him. But Angelotti must hide again as Tosca is heard outside. Cavaradossi hurries him back into the chapel and gives him the supper basket.

Cavaradossi goes to let Tosca into the church. She jealously questions him about his delay in answering the door. She had heard him talking to someone and accuses him of meeting another woman there. She softens when he tries to kiss her, but she reminds him that they are in church. She prays to Mary and then seductively reminds Cavaradossi of their planned tryst late that night. Worried about Angelotti, he tries to get her to leave; she becomes suspicious again. Tosca notices the portrait and identifies the blonde woman as the Marchesa Attavanti. Again she explodes with suspicions, but Cavaradossi tenderly and repeatedly reassures her of his fidelity. She is at last convinced—but she wants him to darken the colour of the eyes in the painting to match her own.

When Tosca finally leaves, Cavaradossi summons Angelotti and explains that he could not share his secret with Tosca because she is too indiscreet. Angelotti is not sure whether he ought to leave the country or stay hidden in Rome. His sister—the Marchesa Attavanti—has hidden a dress, a veil, and a fan in the chapel so that Angelotti can disguise himself as a woman and escape. Cavaradossi now realizes that the unknown praying woman he has been painting is Angelotti’s sister. Angelotti explains that she would do anything to keep him out of the clutches of Baron Scarpia, the evil police chief. Cavaradossi once again vows to help and offers to hide him in his country villa. Angelotti gets the bundle of clothes his sister left him but leaves behind the fan. When a cannon shot signals that the police have discovered Angelotti’s escape, the two rush off to the villa.

The Sacristan returns with a group of choirboys who are to sing a “Te Deum” in celebration of the reported retreat of Napoleon’s troops. Their excitement is silenced by the entrance of Scarpia and his agents, who are in search of Angelotti. Scarpia questions the trembling Sacristan about the Attavanti chapel. The poor man is astounded to find that someone has unlocked it. Scarpia, pleased with this clue, enters the chapel and finds the fan, which has the Attavanti crest on it. Then he recognizes the Marchesa in the portrait. The Sacristan tells him that Cavaradossi painted the portrait. Scarpia ponders the connection: Cavaradossi is Tosca’s lover, and he is also a political dissident. The Sacristan interrupts his train of thought, babbling that he has found Cavaradossi’s empty supper basket in the chapel. He cannot imagine how it happened, for Cavaradossi did not have a key to the chapel, and he had said he was not hungry. Scarpia realizes that Angelotti must have eaten the food.

Tosca returns, looking for Cavaradossi. She is already suspicious, thanks to the Sacristan’s news that Cavaradossi has unexpectedly left. Scarpia greets her gallantly and insinuates that Cavaradossi has had a tryst with the Marchesa. When she demands proof, he shows her the fan, claiming that he found it on the painter’s scaffold. Believing Cavaradossi unfaithful, Tosca tearfully vows vengeance and leaves as the church resounds with the “Te Deum.” Scarpia orders his men to tail her. He is ecstatic, for he has ignited Tosca’s suspicion, which he will soon turn to love for him (“Va, Tosca!”).