Cavalleria rusticana

Cavalleria rusticana
Cavalleria rusticana
Opera by Pietro Mascagni
	Scene from the world premiere of the opera
Librettist	Giovanni Targioni-Tozzetti and Guido Menasci
Language	Italian
Based on	Cavalleria rusticana [it] (1880) by Giovanni Verga
Premiere	17 May 1890; Teatro Costanzi, Rome

Cavalleria rusticana (pronounced [kavalleˈriːa rustiˈkaːna]; Italian for "rustic chivalry") is an opera in one act by Pietro Mascagni to an Italian libretto by Giovanni Targioni-Tozzetti and Guido Menasci, adapted from an 1880 short story of the same name [it] and subsequent play by Giovanni Verga. Considered one of the classic verismo operas, it premiered on 17 May 1890 at the Teatro Costanzi in Rome. Since 1893, it has often been performed in a so-called Cav/Pag double-bill with Pagliacci by Ruggero Leoncavallo.^[1]

Composition history

Mascagni (center) with his librettists, Giovanni Targioni-Tozzetti (left) and Guido Menasci

In July 1888 the Milanese music publisher Edoardo Sonzogno announced a competition open to all young Italian composers who had not yet had an opera performed on stage. They were invited to submit a one-act opera which would be judged by a jury of five prominent Italian critics and composers. The best three would be staged in Rome at Sonzogno's expense.

Mascagni heard about the competition only two months before the closing date and asked his friend Giovanni Targioni-Tozzetti, a poet and professor of literature at the Italian Royal Naval Academy in Livorno, to provide a libretto. Targioni-Tozzetti chose Cavalleria rusticana, a popular short story (and play) by Giovanni Verga, as the basis for the opera. He and his colleague Guido Menasci set about composing the libretto, sending it to Mascagni in fragments, sometimes only a few verses at a time on the back of a postcard. The opera was finally submitted on the last day that entries would be accepted. In all, 73 operas were submitted, and on 5 March 1890, the judges selected the final three: Niccola Spinelli's Labilia, Vincenzo Ferroni [it]'s Rudello, and Mascagni's Cavalleria rusticana.^[2]

There have been two other operas based on Verga's story. The first, Mala Pasqua! (Bad Easter!) by Stanislao Gastaldon, was entered in the same competition as Mascagni's. However, Gastaldon withdrew it when he received an opportunity to have it performed at the Teatro Costanzi, where it premiered on 9 April 1890.^[3] In the 1907 Sonzogno competition, Domenico Monleone submitted an opera based on the story, and likewise called Cavalleria rusticana. The opera was not successful in the competition, but premiered later that year in Amsterdam and went on to a successful tour throughout Europe, ending in Turin. Sonzogno, wishing to protect the lucrative property which Mascagni's version had become, took legal action and successfully had Monleone's opera banned from performance in Italy.^[4] Monleone changed the opera ‘beyond recognition’, setting the music to a new libretto. In this form it was presented as La giostra dei falchi in 1914.^[4]

Performance history

Premiere

Cavalleria rusticana opened on the evening of 17 May 1890 at the Teatro Costanzi in Rome to a half empty house. However, the audience included not only the most authoritative music critics in the country but also Queen Margherita, a great music lover. It was a success from its opening notes. Following Stagno's rendition of the Siciliana behind the curtain, the audience leaped to their feet with a thunderous applause not heard for many years. The Siciliana was encored as were several other numbers in the opera.^[5] It was a sensation, with Mascagni taking 40 curtain calls and winning the First Prize.^[5]^[6]

Subsequent performances

Although Mascagni had started writing two other operas earlier (Pinotta, premiered in 1932, and Guglielmo Ratcliff, premiered in 1895), Cavalleria rusticana was his first opera to be completed and performed. It remains the best known of his fifteen operas and one operetta (Sì). Apart from Cavalleria rusticana, only Iris and L'amico Fritz have remained in the standard repertory, with Isabeau and Il piccolo Marat on the fringes of the Italian repertoire. Its success has been phenomenal ever since its first performance. At the time of Mascagni's death in 1945, the opera had been performed more than 14,000 times in Italy alone.^[7]

In 1890, following its run of sold-out performances at the Teatro Costanzi, the opera was produced throughout Italy and in Berlin. It received its London premiere at the Shaftesbury Theatre on 19 October 1891 and its Covent Garden premiere on 16 May 1892.^[8]

American producers vied with each other (sometimes through the courts) to be the first to present the opera in that country. Cavalleria rusticana finally had its American premiere in Philadelphia at the Grand Opera House on 9 September 1891, followed by a performance in Chicago on 30 September 1891. The opera premiered in New York City on 1 October 1891, with two rival performances on the same day: an afternoon performance at the Casino, directed by Rudolph Aronson, and an evening performance at the Lenox Lyceum, directed by Oscar Hammerstein.^[8]

Gemma Bellincioni as Santuzza, and her husband, Roberto Stagno, as Turiddu, in the 1890 premiere of Cavalleria rusticana

The opera received its first performance at the Metropolitan Opera on 30 December 1891 in a double bill with a fragment of Gluck's Orfeo ed Euridice, and has since received over 700 performances there.

The opera was played during the 1920s in African-American theaters in Chicago. For example, the Vendome, featuring the orchestra of Erskine Tate, played music from this opera. Notably, Louis Armstrong performed and memorized the trumpet solo, coming out of the pit and mounting the stage to play it.^[9]

Roles

Roles, voice types, premiere cast
Role	Voice type	Premiere cast, 17 May 1890 Conductor: Leopoldo Mugnone
Santuzza, a peasant girl	soprano	Gemma Bellincioni
Turiddu, a young villager recently returned from the army	tenor	Roberto Stagno
Lucia, his mother	contralto	Federica Casali
Alfio, a carter	baritone	Gaudenzio Salassa
Lola, Alfio's wife	mezzo-soprano	Annetta Gulì

Synopsis

Place: A 19th-century Sicilian village^[10]

Time: Easter morning

Before the action takes place, the young villager Turiddu returned from military service to find out that his fiancée Lola had married the carter Alfio while he was away.^[11] In revenge, Turiddu seduced Santuzza, a young woman in the village. As the opera begins, Lola, overcome by her jealousy of Santuzza, has begun an adulterous affair with Turiddu.

The main square of the village

Offstage, Turiddu is heard singing a siciliana, "O Lola c'hai di latti la cammisa" ("O Lola, you whose blouse is as white as milk", commonly rendered in English as "O Lola! like the snow, pure in thy whiteness!"). To one side is the church; to the other is Lucia's wine-shop and the house where she lives with her son, Turiddu. The villagers move about the square, singing of the beautiful spring day, "Gli aranci olezzano sui verdi margini" (literally, "Oranges smell good on the green edges", rendered as "The air is sweet with orange blossoms" in the English libretto) and a hymn to the Blessed Virgin Mary. Some villagers enter the church, and others wander off still singing.

Santuzza, having slept with Turiddu and suspecting that he has betrayed her for Lola, is distraught and approaches Lucia as she comes out of her house. Santuzza asks for Turiddu, but Lucia replies that he has gone to another town to fetch some wine. Santuzza tells her that he was seen during the night in the village. Lucia asks her inside to talk, but just at that moment Alfio arrives on his wagon, accompanied by the villagers. He praises the joys of a teamster's life and the beauty of Lola his bride. Alfio asks Lucia for some of her fine old wine. She tells him it has run out and Turiddu has gone away to buy more. Alfio replies that he had seen Turiddu early that morning near his cottage. Lucia starts to express surprise, but Santuzza stops her.

Alfio leaves. The choir inside the church is heard singing the Regina Coeli. Outside, the villagers sing an Easter Hymn, "Inneggiamo, il Signor non è morto" ("Let us sing hymns, the Lord is not dead", or "We rejoice that our Saviour is living!" in the English version) joined by Santuzza. The villagers enter the church, while Santuzza and Lucia remain outside. Lucia asks Santuzza why she signalled her to remain silent when Alfio said that he had seen Turiddu that morning. Santuzza exclaims, "Voi lo sapete" ("You well know") and tells Lucia the story of her seduction by Turiddu and his affair with Lola. Lucia pities Santuzza, who feels dishonored, having been seduced by Turiddu only to be abandoned by him for his old flame, Lola. Santuzza feels she cannot enter the church, but begs Lucia to go inside herself and pray for Santuzza who stays behind to try to plead with Turiddu to leave Lola and return to her.

Santuzza pleads with Turiddu that he not go to meet with Lola again.

Turiddu arrives. Santuzza upbraids him for pretending to have gone away, when he was actually seeing Lola. Lola enters the square singing. She mocks Santuzza and goes inside the church. Turiddu turns to follow Lola, but Santuzza begs him to stay. Turiddu pushes her away. She clings to him. He loosens her hands, throws her to the ground, and enters the church. Alfio arrives looking for Lola. Santuzza tells him that his wife has betrayed him with Turiddu. Alfio swears to take vendetta (revenge) which causes Santuzza to repent for having disclosed the affair and begs Alfio to stop, but to no avail.

Cavalleria rusticana: Intermezzo Sinfonico (3:01)

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The square is empty as the orchestra plays the famous Intermezzo.

Turiddu bites Alfio's ear

The villagers come out of the church. Turiddu is in high spirits because he is with Lola and Santuzza appears to have gone. He invites his friends to his mother's wine-shop where he sings a drinking song, "Viva, il vino spumeggiante" ("Hail to the bubbling wine!"). Alfio joins them. Turiddu offers him wine, but he refuses it. All understand that trouble is in the air. The women leave, taking Lola with them. In a brief exchange of words, Alfio challenges Turiddu to a duel. Following Sicilian custom, the two men embrace, and Turiddu, in a token of acceptance, bites Alfio's ear, drawing blood which signifies a fight to the death. Alfio leaves and Turiddu calls Lucia back. He tells her that he is going outside to get some air and asks that she be a kindly mother to Santuzza if he should not return: "Un bacio, mamma! Un altro bacio!—Addio!" ("One kiss, mother! One more kiss! – Farewell!").

Turiddu rushes out. Lucia, weeping, wanders aimlessly around outside her house. Santuzza approaches and throws her arms around her. The villagers start to crowd around. Voices are heard in the distance and a woman cries, "They have murdered Turiddu!" Santuzza faints and Lucia collapses in the arms of the women villagers.

Instrumentation

Mascagni calls for a standard-sized orchestra consisting of 2 flutes, 2 piccolos, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (triangle, cymbals, bass drum, side drum, tamtam, tubular bells), harp, organ and strings.

Recordings

Advertisement for 1930 radio broadcast with Lisa Roma

There have been over 100 full-length recordings of Cavalleria rusticana published since it was first recorded in Germany in 1909.^[12]^[13] As in live performances of the opera, recordings of the work have often been paired with Ruggero Leoncavallo's Pagliacci. In addition to the original Italian, recordings of the work in the English, French, German, and Hungarian languages have been released.^[14] Mascagni himself conducted the opera in two recordings, the better-known of which is the 1940 EMI recording made to mark the 50th anniversary of the opera's premiere. The performance by the La Scala orchestra and chorus with Lina Bruna Rasa as Santuzza and Beniamino Gigli as Turiddu also has a spoken introduction by Mascagni. Originally released as an LP, it is available on CD under several historical recording labels.^[15]

Radio

A double-bill performance of Cavalleria and Pagliacci was transmitted as the first broadcast by New York City's Metropolitan Opera on 11 December 1910.^[16] Radio pioneer Lee de Forest talked Giulio Gatti-Casazza, the Met manager, into sending the program over the airwaves by using a backstage radio transmitter and a rooftop antenna, "using a long fishing pole for his mast." Enrico Caruso and Emmy Destinn were in the leading roles.^[17]

Few listened. There were no radios. But public receivers had been set up in several well-advertised locations in New York City, and people could catch at least an inkling of the music on earphones. The next day, The New York Times reported that static and other interference "kept the homeless song waves from finding themselves."^[17]

In Los Angeles, an "Italian Night" concert was heard live "in its entirety" on May 6, 1930, as the third program of the Adohr opera series over radio station KFI, featuring "A distinguished cast ... headed by Lisa Roma, noted lyric soprano ... Music lovers should not fail to tune in."^[18]

Poster for the Carmine Gallone film version of Cavalleria rusticana (1953)

A notable use of the Intermezzo from Cavalleria rusticana in the United States was as the theme for a regular radio broadcast, Symphony of the Rockies, which featured "a small string group playing light classical music" in the 1930s and 1940s over Denver radio station KOA, then owned and operated by the NBC network. It "was a 'feed' to the entire network from the KOA studios."^[19]

Film

Apart from video recordings of live performances, there have been several cinematic versions of Cavalleria rusticana, the most notable of which are:

The 1916 silent film accompanied by Mascagni's score, directed by Ugo Falena, with Gemma Bellincioni, who had created the role of Santuzza in the opera's world premiere.
The 1953 film directed by Carmine Gallone, using actors miming to the voices of opera singers, with a young Anthony Quinn as Alfio miming to the voice of Tito Gobbi. (Released in the US in 1963 with the title Fatal Desire.)
It was filmed for Australian television in 1959.
The 1968 film directed by Åke Falck, with Fiorenza Cossotto as Santuzza, Gianfranco Cecchele as Turiddu, Giangiacomo Guelfi as Alfio and Anna di Stasio as Lucia. (La Scala, Milan conducted by Herbert von Karajan.)
The 1982 film directed by Franco Zeffirelli, using opera singers for actors with Plácido Domingo as Turiddu, Elena Obraztsova as Santuzza, Renato Bruson as Alfio and Fedora Barbieri as Lucia.

Costumed excerpts from the opera are performed in Mario Lanza's popular films The Great Caruso (1951) and Because You're Mine (1952). The opera's symphonic Intermezzo has figured in the sound track of several films, most notably in the opening of Raging Bull^[20] and in the finale of The Godfather Part III, which also featured a performance of the opera as a key part of the film's climax.^[21]

References

^ Sims 2007.
^ Willard 1893.
^ Sanvitale, Francesco, La romanza italiana da salotto Archived 2017-01-18 at the Wayback Machine, EDT srl, 2002, p. 491
^ Jump up to:^a ^b Stevens 2001
^ Jump up to:^a ^b Weaver 1987.
^ Anon. 1945.
^ Schweisheimer 1946.
^ Jump up to:^a ^b Kobbé 1919.
^ Brothers, Thomas (2014). Louis Armstrong: Master of Modernism. New York: W. W. Norton. pp. 186–187. ISBN 978-0-393-06582-4.
^ Synopsis is based on Targioni-Tozzetti, G. and Menasci, G. (1902). Libretto: Cavalleria rusticana Archived 2009-03-26 at the Wayback Machine in Italian and English translation by Willard G. Day. F. Rullman
^ In Italian carrettiere, presumably an owner-driver of the traditional Sicilian cart
^ Recordings on the opera on operadis-opera-discography.org.uk Archived 2012-04-16 at the Wayback Machine Retrieved 6 February 2010
^ For extensive annotated discographies, see Mascagni.org Archived 2012-06-30 at archive.today and Flury, R. (2001) Pietro Mascagni - A Bio-Bibliography, Greenwood Press, ISBN 0-313-29662-6
^ Gruber, Paul (5 May 1993). The Metropolitan Opera Guide to Recorded Opera. W. W. Norton. ISBN 9780393034448. Retrieved 5 May 2018 – via Internet Archive.
^ Mallach, Alan (2002). Pietro Mascagni and His Operas Archived 2017-01-25 at the Wayback Machine, p. 298. University Press of New England. ISBN 1555535240
^ Joseph McLellan, "Texaco & the Met: Premium Performance; the 50th Season of Radio Broadcast Begins," Washington Post, 17 December 1989 (registration required) Archived 5 November 2012 at the Wayback Machine
^ Jump up to:^a ^b Fantel, Hans (14 January 1990). "Sound: Out of De Forest and Onto the Air Came Music". The New York Times.
^ Daggett, John S. (6 May 1930). "Receiving Set Boon to Home". Los Angeles Times. p. 21.
^ Melrose, Frances (12 July 1998). "Airing Memories of 'Rhapsody' on Radio". Rocky Mountain News. Denver. Archived from the original on 5 November 2012.
^ Powrie & Stilwell 2006, p. 21.
^ Lauri-Lucente 2003.

Sources

Anon. (August 13, 1945). "Cavalleria's Crown". Time.
Kobbé, Gustav (1919). The Complete Opera Book. G. P. Putnam & Sons.
Lauri-Lucente, Gloria (2003). "Cavalleria rusticana and metatextuality in Francis Ford Coppola's The Godfather III" (paper presented at the British Council conference, Reading Screens: From text to film, TV and new media, Corpus Christi College, Oxford, 6–12 April 2003). Archived from the original on 2011-06-06.
Powrie, Phil; Stilwell, Robynn Jeananne (2006). Changing Tunes: The Use of Pre-existing Music in Film. Ashgate. ISBN 0-7546-5137-1.
Schweisheimer, W[aldemar] (April 1946). "Pietro Mascagni – A Tragic Figure?". The Etude.
Sims, Michael (2007). "Cavalleria rusticana, I [sic] Pagliacci, and the Verismo Style" (Programme notes). Concert Opera Boston. Retrieved 30 June 2020.
Stevens, D. (July 25, 2001). "Cav and Cav: Take 2, They're Small". International Herald Tribune.
Weaver, William (1987). Opera's irrestistible twins. Decca Record Company.
Willard, Ashton R. (March–August 1893). "Pietro Mascagni, the Author of the Cavalleria rusticana". The New England Magazine. VIII.

External links

Media related to Cavalleria rusticana at Wikimedia Commons
Cavalleria rusticana: Scores at the International Music Score Library Project
Libretto of Cavalleria rusticana (accessed 17 September 2011)

[FOOTNOTESims2007-1] Sims 2007.

[FOOTNOTEWillard1893-2] Willard 1893.

[3] Sanvitale, Francesco, La romanza italiana da salotto Archived 2017-01-18 at the Wayback Machine, EDT srl, 2002, p. 491

[Stevens-4] Jump up to:^a ^b Stevens 2001

[FOOTNOTEWeaver1987-5] Jump up to:^a ^b Weaver 1987.

[FOOTNOTEAnon.1945-6] Anon. 1945.

[FOOTNOTESchweisheimer1946-7] Schweisheimer 1946.

[FOOTNOTEKobbé1919-8] Jump up to:^a ^b Kobbé 1919.

[9] Brothers, Thomas (2014). Louis Armstrong: Master of Modernism. New York: W. W. Norton. pp. 186–187. ISBN 978-0-393-06582-4.

[10] Synopsis is based on Targioni-Tozzetti, G. and Menasci, G. (1902). Libretto: Cavalleria rusticana Archived 2009-03-26 at the Wayback Machine in Italian and English translation by Willard G. Day. F. Rullman

[11] In Italian carrettiere, presumably an owner-driver of the traditional Sicilian cart

[12] Recordings on the opera on operadis-opera-discography.org.uk Archived 2012-04-16 at the Wayback Machine Retrieved 6 February 2010

[13] For extensive annotated discographies, see Mascagni.org Archived 2012-06-30 at archive.today and Flury, R. (2001) Pietro Mascagni - A Bio-Bibliography, Greenwood Press, ISBN 0-313-29662-6

[14] Gruber, Paul (5 May 1993). The Metropolitan Opera Guide to Recorded Opera. W. W. Norton. ISBN 9780393034448. Retrieved 5 May 2018 – via Internet Archive.

[15] Mallach, Alan (2002). Pietro Mascagni and His Operas Archived 2017-01-25 at the Wayback Machine, p. 298. University Press of New England. ISBN 1555535240

[16] Joseph McLellan, "Texaco & the Met: Premium Performance; the 50th Season of Radio Broadcast Begins," Washington Post, 17 December 1989 (registration required) Archived 5 November 2012 at the Wayback Machine

[Fantel-17] Jump up to:^a ^b Fantel, Hans (14 January 1990). "Sound: Out of De Forest and Onto the Air Came Music". The New York Times.

[18] Daggett, John S. (6 May 1930). "Receiving Set Boon to Home". Los Angeles Times. p. 21.

[19] Melrose, Frances (12 July 1998). "Airing Memories of 'Rhapsody' on Radio". Rocky Mountain News. Denver. Archived from the original on 5 November 2012.

[FOOTNOTEPowrieStilwell200621-20] Powrie & Stilwell 2006, p. 21.

[FOOTNOTELauri-Lucente2003-21] Lauri-Lucente 2003.

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Roles Santuzza, a peasant girl - soprano Turiddu, a young villager recently returned from the army - tenor Lucia, his mother - contralto Alfio, the village teamster - baritone Lola, his wife - mezzo-soprano The scene represents a square in a village in Sicily. At the back, on the right, a church with a moveable door. On the left, an inn and the house of Mother Lucia. It is Easter. The curtain is down. TURIDDU O Lola! like the snow, pure in thy whiteness! Redder than cherries glow thy lips in brightness! Happy the lover brave, when by thy kisses Thou shalt his soul enslave in fondest blisses! Though at thy door dark blood be warningly lying, Ne'er shall it hinder me, when to thee flying. Death straight to heaven in its arms may enfold me; Ne'er shall I enter there happy, till I behold thee!	Personaggi Santuzza, giovane contadina (soprano) Turiddu, giovane contadino (tenore) Lucia, sua madre (contralto) Alfio, carrettiere (baritono) Lola, sua moglie (mezzosoprano) La scena rappresenta una piazza in un paese della Sicilia.—Nel fondo, a destra, Chiesa con porta praticabile. — A sinistra l'osteria e la casa di Mamma Lucia. — È il giorno di Pasqua. (A sipario calato.) TURIDDU O Lola c'hai di latti la cammisa si bianca e russa comu la cirasa, quannu t'affacci fai la vucca a risa, biatu pì lu primu cu ti vasa! Ntra la puorta tua lu sangu è spasu, ma nun me mpuorta si ce muoru accisu ... e si ce muoru e vaju 'n paradisu si nun ce truovo a ttia, mancu ce trasu
SCENE FIRST Chorus WOMEN (within) Oranges blossoming, myrtle and jessamine Mingle their fragrance with incense of flowers. Morning now murmuring, hearts that were slumbering Wake with the dawning with songs, as do ours MEN (within) To the harvest field, 'mid ears bright and golden, The quick-flying spindles send out their humming; We weary, while from our labors are holden, To Thee, Light of Heaven, are humbly coming! O glorious Son of Salvation, heaven adorning! As the eagles home flying, hail we this morning! (The chorus comes on the stage) WOMEN Vain are all earthly employments! To heaven and its enjoyments! The Virgin and our dear Lord!	SCENA PRIMA Coro DONNE (di dentro) Gli aranci olezzano sui verdi margini, cantan le allodole tra i mirti in fior; tempo è si mormori da ognuno il tenero canto che i palpiti raddoppia al cor UOMINI (di dentro) In mezzo al campo tra le spiche d'oro giunge il rumore delle vostre spole; noi stanchi riposando dal lavoro a voi pensiamo, o belle occhi-di-sole. O belle occhi-di-sole, a voi corriamo, come vola l'augello al suo richiamo (Il coro entra in iscena) DONNE Cessin le rustiche opre: la Virgine serena allietasi del Salvator! (Il coro traversa la scena ed esce)
SCENE SECOND Santuzza and Lucia SANTUZZA (entering) Tell me, mother Lucia— LUCIA (surprised) Is it you? What would you? SANTUZZA Turiddu is here? LUCIA And why do you come here To seek my son? SANTUZZA Only that I may ask you— Humbly I beg your pardon—where I may find him LUCIA I know not, I know not; bring me no trouble SANTUZZA Mother Lucia! I supplicate you, weeping; Kindly, as the Saviour to a Magdalen, Tell me, for mercy's sake, where is Turiddu? LUCIA He is gone for the wine to Francofonte SANTUZZA No! He was seen last night in the village LUCIA What say you! Is he then again at home? (Going toward the door of her house) Enter! SANTUZZA Into your house I cannot enter! I am condemned! LUCIA And what of him Have you now to tell me? SANTUZZA Alas! this thorn in my bosom!	SCENA II Santuzza e Lucia SANTUZZA (entrando.) Dite, mamma Lucia... LUCIA (sorpresa.) Sei tu?... che vuoi? SANTUZZA Turiddu ov'è? LUCIA Fin qui vieni a cercare il figlio mio? SANTUZZA Voglio saper soltanto, perdonatemi voi, dove trovarlo LUCIA Non lo so, non lo so, non voglio brighe! SANTUZZA Mamma Lucia, vi supplico piangendo, fate come il Signore a Maddelena, ditemi per pietà, dov'è Turiddu... LUCIA È andato per il vino a Francofonte SANTUZZA No!... l'han visto in paese ad alta notte... LUCIA Che dici?... se non è tornato a casa! (avviandosi all'uscio di casa) Entra... SANTUZZA (disperata.) Non posso entrare in casa vostra.... Sono scomunicata! LUCIA E che ne sai del mio figliuolo? SANTUZZA Quale spina ho in core!
SCENE THIRD Alfio, Lucia, Santuzza and Chorus ALFIO With my horses bounding, Wagon wheels resounding. Cracking my whiplash—Ehi la! Cold winds blowing steadily, Rain and snow falling readily! I care for nothing! Ehi la! CHORUS Happy is his calling, Richest treasures hauling, As he goes here and there ALFIO Me, Lola is awaiting, All other lovers hating, To her I am most dear! Let the wind blow fearfully, Lola watches tearfully, 'Tis Easter, and I'm here! CHORUS Happy is his calling, Richest treasures hauling, As he goes here and there LUCIA You are blest, Master Alfio, That you are always so full of joy ALFIO Mother Lucia, Have you not more of that lovely old wine? LUCIA Perhaps; Turiddu has gone away to buy some ALFIO He's always here! I saw him but this morning; And very near my dwelling! LUCIA (surprised) What! SANTUZZA (quickly) Be silent! (Those in the church are heard singing Alleluia)	SCENA III Alfio, Coro e DETTE ALFIO Il cavallo scalpita, i sonagli squillano, schiocca la frusta.—Ehi là!— Soffii il vento gelido, cada l'acqua e nevichi, a me che cosa fa? CORO O che bel mestiere fare il carrettiere andar di qua e di là! ALFIO M'aspetta a casa Lola che m'ama e mi consola, ch'è tutta fedeltà. Il cavallo scalpiti, i sonagli squillino, è Pasqua, ed io son qua! CORO O che bel mestiere fare il carrettiere andar di qua e di là! LUCIA Beato voi, compar Alfio, che siete sempre allegro così! ALFIO. Mamma Lucia, n'avete ancora di quel vecchio vino? LUCIA Non so; Turiddu è andato a provvederne ALFIO Se è sempre qui!—L'ho visto stamattina vicino a casa mia LUCIA (sorpresa) Come? SANTUZZA (rapidamente) Tacete (dalla Chiesa odesi intonare l'alleluja)
ALFIO I will not enter. Go ye both into church (He goes out) CHORUS (within the church) Regina coeli, laetare—Alleluia! Quia, quem meruisti portare—Alleluia! Resurrexit sicut dixit—Alleluia! CHORUS (in the square) We rejoice that our Saviour is living! He all-glorious arose from the dead; Joys of heaven the Lord to us giving, All the sorrows of darkness are fled! (The chorus goes out slowly)	ALFIO Io me ne vado, ite voi altri in chiesa. (esce) CORO INTERNO (dalla Chiesa.) Regina coeli, laetare—Alleluja! Quia, quem meruisti portare—Alleluja! Resurrexit sicut dixit—Alleluja! CORO ESTERNO (sulla piazza.) Inneggiamo, il Signor non è morto. Ei fulgente ha dischiuso l'avel, inneggiamo al Signore risorto oggi asceso alla gloria del Ciel! (il Coro esce lentamente)
SCENE FOURTH Lucia and Santuzza LUCIA And why did you thus make the sign of silence? SANTUZZA You well know, dearest mother, when he went as a soldier, Turiddu had sworn to Lola eternal faith and love. Returned, he found her married; and with new affection Would he put out the fire burning still in his bosom. I love him, he loves me. That evil one, for all my rightful pleasure, Of her own husband forgetful, burns now with jealousy. Me she has outraged! Despoiled of my honor I live on— Lola and Turiddu loving!—and I weeping! LUCIA Wretched am I that such things should be told me On this most holy morning SANTUZZA I am condemned! Go you, O mother, and implore our dear Saviour; And to him pray for me. Here, to Turiddu Will I again make humble supplication LUCIA (going toward the church) And be thou our helper! Holy Maria! (She goes out)	SCENA IV Lucia e Santuzza LUCIA Perchè m'hai fatto segno di tacere? SANTUZZA Voi lo sapete, o mamma, prima d'andar soldato Turiddu aveva a Lola eterna fè giurato. Tornò, la seppe sposa; e con un nuovo amore volle spegner la fiamma che gli bruciava il core: m'amò, l'amai. Quell'invida d'ogni delizia mia, del suo sposo dimentica, arse di gelosia.... Me l'ha rapito. Priva dell'onor mio rimango: Lola e Turiddu s'amano, io piango, io piango, io piango! LUCIA Miseri noi, che cosa vieni a dirmi in questo santo giorno? SANTUZZA Io son dannata.... Andate, o mamma, ad implorare Iddio, e pregate per me.—Verrà Turiddu, vo' supplicarlo un'altra volta ancora! LUCIA (avviandosi alla chiesa.) Ajutatela voi, Santa Maria! (esce)
SCENE FIFTH Santuzza and Turiddu TURIDDU You here, Santuzza? SANTUZZA You I was awaiting TURIDDU And Easter and church you are neglecting? SANTUZZA I can not go. I must speak with you! TURIDDU I seek my mother SANTUZZA I must speak with you! TURIDDU Not here! not here! SANTUZZA Where have you been? TURIDDU Why do you ask me? At Francofonte SANTUZZA No! 'Tis not true! TURIDDU Santuzza, trust in me! SANTUZZA No! You are lying; I saw you turning here into this street. And this morning at dawn they discovered you Coming from Lola TURIDDU Ah! you were spying! SANTUZZA No! I swear to you. To us it has been told By Master Alfio	SCENA V Santuzza e Turiddu TURIDDU Tu qui, Santuzza? SANTUZZA Qui t'aspettavo TURIDDU È Pasqua, in chiesa non vai? SANTUZZA Non vo. Debbo parlarti... TURIDDU Mamma cercavo SANTUZZA Debbo parlarti... TURIDDU Qui no! Qui no! SANTUZZA Dove sei stato? TURIDDU Che vuoi tu dire?... A Francofonte! SANTUZZA No, non è ver! TURIDDU Santuzza, credimi... SANTUZZA No, non mentire; ti vidi volgere giù dal sentier. E stamattina, all'alba, t'hanno scôrto presso l'uscio di Lola TURIDDU Ah! m'hai spiato! SANTUZZA No, te lo giuro. A noi l'ha raccontato Compar Alfio, il marito, poco fa
TURIDDU Thus you return the love I gave you? You wish him to kill me? SANTUZZA Ah! such a fate do not mention TURIDDU Then you must leave me! In vain do you endeavor My righteous anger thus to subdue! SANTUZZA Ah, yes! you love her! TURIDDU No! SANTUZZA And beautiful Is Lola TURIDDU Silence! I love her not SANTUZZA You love her! Oh! curses on her! TURIDDU Santuzza! SANTUZZA That most Vile and wretched woman has torn thee from me! TURIDDU Beware, Santuzza! I am no slave to thy vain jealousy! SANTUZZA Beat me! insult me! I love and pardon; But all too heavy is my deep anguish!	TURIDDU Così ricambi l'amor che ti porto? Vuoi che m'uccida? SANTUZZA Oh! questo non lo dire... TURIDDU Lasciami dunque, invan tenti sopire il giusto sdegno colla tua pietà SANTUZZA Tu l'ami dunque? TURIDDU No... SANTUZZA Assai più bella è Lola TURIDDU Taci, non l'amo SANTUZZA L'ami.... Oh! maledetta! TURIDDU Santuzza! SANTUZZA Quella cattiva femmina ti tolse a me! TURIDDU Bada, Santuzza, schiavo non sono di questa vana tua gelosia! SANTUZZA Battimi, insultami, t'amo e perdono, ma è troppo forte l'angoscia mia
SCENE SIXTH Lola and THE OTHERS LOLA (behind the scene) Dearest yellow flower! Thousands may grow In heaven's lovely bower; But, one like mine to show, It has no power. (entering) Oh! Turiddu! Have you seen Alfio? (sarcastically) TURIDDU I came But this moment. I have not. (embarrassed) LOLA He is delayed, No doubt, at the blacksmith's; but I must not tarry. And you, I see, in the street do your praying! (ironically) TURIDDU Santuzza was just saying— SANTUZZA (sadly) I was saying That 'tis Easter, and the Saviour to-day sees all things! LOLA (sarcastically) Go you not to the altar? SANTUZZA (sadly) I? No! I dare not go. Who knows not that I am a sinner! LOLA I may thank my dear Saviour, I am His handmaid SANTUZZA (ironically) Indeed!—well done!—my Lola! TURIDDU (to Lola) We'll leave her. Here is no place for us LOLA (ironically) Oh! you may stay here! SANTUZZA Yes, stay here! Stay here! I have something to tell you!	SCENA VI Lola e DETTI LOLA (dentro alla scena.) Fior di giaggiolo, gli angeli belli stanno a mille in cielo, ma bello come lui ce n'è uno solo. (entrando) Oh! Turiddu.... È passato Alfio? (sarcastica) TURIDDU Son giunto ora in piazza. Non so.... (impacciato) LOLA Forse è rimasto del maniscalco, ma non può tardare. (ironica) E ... voi ... sentite le funzioni in piazza... TURIDDU Santuzza mi narrava... SANTUZZA (tetra.) Gli dicevo che oggi è Pasqua e il Signor vede ogni cosa! LOLA (c.s.) Non venite alla messa? SANTUZZA (tetra.) Io no, ci deve andar chi sa di non aver peccato LOLA Io ringrazio il Signore e bacio in terra! SANTUZZA (ironica.) Oh! fate bene, Lola! TURIDDU Andiamo! andiamo! Qui non abbiam che fare LOLA (ironica.) Oh! rimanete! SANTUZZA (a Turiddu.) Si, resta, resta, ho da parlarti ancora!
LOLA (still ironically) And with help of the Saviour, I will now go in (She goes into church)	LOLA E v'assista il Signore; io me ne vado (entra in chiesa)
SCENE SEVENTH Santuzza and Turiddu TURIDDU (irate) Ah! you see now, what you have spoken! SANTUZZA What you wished, and it was well! TURIDDU (advancing) By heaven! SANTUZZA Stab in my bosom! TURIDDU (drawing back) No! SANTUZZA (beseechingly) Turiddu! O hear me! TURIDDU Go! SANTUZZA No, no, Turiddu! Come, love me once more! Do not abandon me! Ah! do not fly! TURIDDU Why do you follow me? Why to the door E'en of the church you are seeking to spy? SANTUZZA I, thy Santuzza, weeping, implore Take my poor heart to thine own once more TURIDDU Vain is your weeping; in vain you repent After your outrage; ne'er will I relent SANTUZZA (threatening) Beware! TURIDDU (with force) Your anger will not bring me! (He throws her on the ground and rushes into the church) SANTUZZA (in greatest fury) On thee come Evil Easter, thou false swearer!	SCENA VII Santuzza e Turiddu TURIDDU (irato.) Ah! lo vedi, chè hai tu detto...? SANTUZZA L'hai voluto, e ben ti sta TURIDDU (le s'avventa.) Ah! perdio! SANTUZZA Squarciami il petto... TURIDDU (s'avvia.) No! SANTUZZA (trattenendolo.) Turiddu, ascolta! TURIDDU Va! SANTUZZA No, no, Turiddu—rimani ancora, abbandonarmi—dunque tu vuoi? TURIDDU Perchè seguirmi—perchè spiarmi, sul limitare—fin della chiesa? SANTUZZA La tua Santuzza—piange e t'implora; come cacciarla—così tu puoi? TURIDDU Va, ti ripeto—va non tediarmi, pentirsi è vano—dopo l'offesa! SANTUZZA (minacciosa.) Bada!.. TURIDDU Dell'ira tua non mi curo! (la getta a terra e fugge in chiesa) SANTUZZA (nel colmo dell'ira.) A te la mala Pasqua, spergiuro!
SCENE EIGHTH Santuzza and Alfio SANTUZZA Oh! the dear Saviour has sent you, Master Alfio! ALFIO At what point is the service? SANTUZZA It is now late; But for you—Lola has just gone with Turiddu! ALFIO What have you spoken? SANTUZZA That while you were braving The wind and weather, to earn your honest living, Lola has turned your home into a brothel! ALFIO Ah! in the name of heaven, Santa! What say you! SANTUZZA The truth—Turiddu betrayed me, despoiled me of honor; And your bad wife has taken him from me ALFIO (threatening.) If you are lying, I will tear out your heart SANTUZZA My lips were never used to lying. No, no, no, they are not liars! By all my infamy! By my deepest sorrow!— The saddest verity is before you! Ah, me! ALFIO (after a pause.) Dear Mistress Santa, then I to you am grateful SANTUZZA 'Twas wicked in me to have spoken thus! ALFIO No! you are innocent, and I forgiving; To utter hate my love has found a way; But they are infamous, unfit for living! And blood I'll have before the close of day! (They go out)	SCENA VIII Santuzza e Alfio SANTUZZA Oh! il Signore vi manda, compar Alfio! ALFIO A che punto è la messa? SANTUZZA È tardi omai, Ma per voi, Lola è andata con Turiddu! ALFIO Che avete detto? SANTUZZA Che mentre correte all'acqua e al vento a guadagnarvi il pane, Lola v'adorna il tetto in malo modo! ALFIO Ah! nel nome di Dio, Santa, che dite? SANTUZZA Il ver. Turiddu mi tolso l'onore, e vostra moglie lui rapiva a me! ALFIO Se voi mentite, vo' schiantarvi il core! SANTUZZA Uso a mentire il labbro mio non è! Per la vergogna mia, pel mio dolore la trista verità vi dissi, ahimè! ALFIO Comare Santa, allor grato vi sono SANTUZZA Infame io son che vi parlai così! ALFIO No, giusta siete stata, io vi condono; in odio tutto l'amor mio finì.... Infami loro; ad essi non perdono; vendetta avrò pria che tramonti il dì. (escono)
SCENE NINTH All come out of church, Lucia crosses the scene and enters her house. Lola, Turiddu and Chorus CHORUS OF MEN Now homeward, companions, where we expect to see Our wives and sweethearts, we'll go! Let wildest revel lead us up to ecstasy! Quickly let the wine flow! (The chorus starts to go away) TURIDDU (to Lola, who is going) Well, Mistress Lola, are you going away Without even saying "good-bye?" LOLA I'm going home; I have not yet seen my husband! TURIDDU O never mind him! He will come here; (To the chorus) And, meanwhile, friends, approach! A drink before I leave you! (They all come to the table and take drinking cups) TURIDDU See the wine, as foaming whitely In the glass it sparkles lightly, Like a lover smiling brightly, Gently whisp'ring words that bless! See the honest cup so cheery! It refreshes us when weary! Drives away all humors dreary! Gives ecstatic happiness! CHORUS See the wine, as foaming whitely (They repeat the verse.) TURIDDU (to Lola) To your true lovers! (drinks.) LOLA (to Turiddu) To your most happy fortune! (drinks) TURIDDU We'll drink! CHORUS Let us keep up the contest!	SCENA IX Tutti escono di chiesa, Lucia traversa la scena ed entra in casa. Lola, Turiddu e Coro UOMINI A casa, a casa, amici, ove ci aspettano le nostre donne, andiam, Or che letizia rasserena gli animi senza indugio corriam.— (il Coro si avvia) TURIDDU (a Lola che s'avvia.) Comare Lola, ve ne andate via senza nemmeno salutare? LOLA Vado a casa e non ho visto compar Alfio! TURIDDU Non ci pensate, verrà in piazza. (al Coro) Intanto amici, qua, beviamone un bicchiere (tutti si avvicinano alla tavola dell'osteria e prendono i bicchieri) TURIDDU Viva il vino spumeggiante nel bicchiere scintillante come il riso dell'amante mite infonde il giubilo! Viva il vino ch' è sincero che ci allieta ogni pensiero, e che annega l'umor nero nell'ebbrezza tenera CORO Viva il vino spumeggiante, ecc., ecc (si ripete il brindisi) TURIDDU (a Lola.) Ai vostri amori! (beve) LOLA (a Turiddu.) Alla fortuna vostra! (beve) TURIDDU Beviam! CORO Beviam! Rinnovisi la giostra!

SCENE TENTH Alfio and THE OTHERS ALFIO To all I give my greeting! CHORUS Master Alfio, we hail you! TURIDDU You are welcome! and with us must be drinking! (he fills a glass) Look now, the cup I fill you! ALFIO (pushing away his arm and the glass) Thanks, sir! Your cup of wine is not accepted! In me it would be poison, my heart's blood chilling! TURIDDU (throwing away the wine backward) Then, at your pleasure! LOLA Ah me! what will this bring! SOME WOMEN (to Lola) Dear Mistress Lola! let's go away from here! (All the women go out, taking Lola) TURIDDU Have you, sir, something to tell me? ALFIO I? Nothing TURIDDU Well then, sir, I am quite at your service ALFIO This moment? TURIDDU This moment! (Alfio and Turiddu embrace. Turiddu bites Alfio's right ear) ALFIO Master Turiddu, you have bitten quite firmly, And we will both endeavor to do likewise TURIDDU Master Alfio, I know that the fault is my own;	SCENA X Alfio e DETTI ALFIO A voi tutti salute! CORO Compar Alfio, salute! TURIDDU Benvenuto! con noi dovete bere: (empie un bicchiere) ecco, pieno è il bicchiere ALFIO (respingendolo.) Grazie, ma il vostro vino io non l'accetto, diverrebbe veleno entro il mio petto! TURIDDU (getta il vino.) A piacer vostro! LOLA Ahimè! che mai sarà? ALCUNE DONNE (a Lola.) Comare Lola, andiamo via di qua (tutte le donne escono conducendo Lola) TURIDDU Avete altro da dirmi? ALFIO Io nulla! TURIDDU Allora sono agli ordini vostri ALFIO Or ora! TURIDDU Or ora! (Alfio e Turiddu si abbracciano.—Turiddu morde l'orecchio destro di Alfio.) ALFIO Compar Turiddu, avete morso a buono.... (con intenzione) c'intenderemo bene, a quel che pare! TURIDDU Compar Alfio, lo so che il torto è mio;
To you I swear, in the name of heaven, That like a dog I should be slaughtered. But ... if I live not ... she will be abandoned,... My own poor Santa! Would I had been faithful! (with fury) But I know how to put my knife in your heart! ALFIO (coldly) Well then, sir, do as it may suit your pleasure. I will await you without, beyond the orchard (He goes out)	e ve lo giuro nel nome di Dio che al par d'un cane mi farei sgozzar; ma ... s'io non vivo, resta abbandonata ... povera Santa!... lei che mi s' è data ... vi saprò in core il ferro mio piantar! ALFIO (freddamente) Compare, fate come più vi piace; io v'aspetto qui fuori, dietro l'orto. (esce)
SCENE ELEVENTH Lucia and THE OTHERS, except Alfio TURIDDU Mother,... that old wine ... is very heady,... and surely This day ... many a glass ... have I been drinking. I'll go out for a moment; But, ere I leave you,... give me your blessing, As on that morning ... I, a soldier, left you.... And also,... mother,... remember;... Should I ... return not,... you will be A mother to Santa,... whom I have vainly promised To conduct to the altar! LUCIA Why speak you thus to me, my loving son? TURIDDU (with indifference) O nothing! The wine has it to me suggested! Surely the wine it must be. Pray you to heaven For me. A kiss, my dearest mother! Another! Farewell! (He embraces her and goes out quickly)	SCENA XI Lucia e DETTI, meno Alfio TURIDDU Mamma, quel vino è generoso, e certo oggi troppi bicchier ne ho tracannato ... vado fuori all'aperto.... Ma prima voglio che mi benedite come quel giorno che partii soldato ... e poi ... mamma ... sentite ... s'io ... non tornassi ... voi dovrete fare da madre a Santa, ch'io le avea giurato di condurla all'altare.— LUCIA Perchè parli così, figliuolo mio? TURIDDU Oh! nulla!... È il vino che mi ha suggerito! Per me pregate Iddio!— Un bacio, mamma ... un altro bacio ... addio! (l'abbraccia ed esce precipitosamente)
SCENE TWELFTH Lucia, Santuzza and THE OTHERS LUCIA (desperate, rushing toward the back of the stage) Turiddu! what said you? (Going further back and calling in desperation) Turiddu! Turiddu! Ah!— (Enter Santuzza) Santuzza! SANTUZZA O dearest mother! (A confused murmur is heard in the distance) (A woman screams) They have murdered Master Turiddu! (Some of the women enter, and one of them repeats the cry desperately. All come on the stage. SANTUZZA falls senseless. LUCIA swoons, and is surrounded by all the women) The curtain falls quickly.	SCENA XII Lucia, Santuzza e DETTI LUCIA (disperata correndo in fondo.) Oh Turiddu?! che vuoi dire? (Va in fondo alla scena e disperatamente chiama) Turiddu! Turiddu! ah! (entra Santuzza.) Santuzza!.. SANTUZZA (getta le braccia al collo di Lucia.) Oh! madre mia!.. (si sente un mormorio lontano) DONNE (correndo.) Hanno ammazzato compare Turiddu!... (tutti gettano un grido) (Alcune donne entrano, ed una di esse grida disperatamente. Tutti si precipitano sulla scena. SANTUZZA cade priva di sensi. LUCIA sviene, ed è sorretta dalle donne del Coro.) (Cala precipitosamente il sipario.)
libretto by Willard G. Day	libretto by Giovanni Targioni-Tozzetti, Guido Menasci

The Poetry of R.E. Slater

Saturday, April 16, 2022