The Complete Opera Book Part 71

Pietro Mascagni was born in Leghorn, Italy, December 7, 1863. His father was a baker. The elder Mascagni, ambitious for his boy, wanted him to study law. The son himself preferred music, and studied surrept.i.tiously. An uncle, who sympathized with his aims, helped him financially. After the uncle's death a n.o.bleman, Count Florestan, sent him to the Milan Conservatory. There he came under the instruction and influence of Ponchielli.

After two years' study at the conservatory he began a wandering life, officiating for the next five years as conductor of opera companies, most of which disbanded unexpectedly and impecuniously. He eked out a meagre income, being compelled at one time to subsist on a plate of macaroni a day. His finances were not greatly improved when he settled in Cerignola, where he directed a school for orchestra players and taught pianoforte and theory.

He was married and in most straitened circ.u.mstances when he composed "Cavalleria Rusticana" and sent it off to the publisher Sonzogno, who had offered a prize for a one-act opera. It received the award.

May 17, 1890, at the Constanzi Theatre, Rome, it had its first performance. Before the representation had progressed very far, the half-filled house was in a state of excitement and enthusiasm bordering on hysteria. The production of "Cavalleria Rusticana"

remains one of the sensational events in the history of opera. It made Mascagni famous in a night. Everywhere it was given--and it was given everywhere--it made the same sensational success. Its vogue was so great, it "took" so rapidly, that it was said to have infected the public with "Mascagnitis."

In "'Cavalleria Rusticana' music and text work in wonderful harmony in the swift and gloomy tragedy." Nothing Mascagni has composed since has come within hailing distance of it. The list of his operas is a fairly long one. Most of them have been complete failures. In America, "Iris"

has, since its production, been the subject of occasional revival.

"Lodoletta," brought out by Gatti-Casazza at the Metropolitan Opera House in 1918, had the advantage of a cast that included Caruso and Farrar. "Isabeau" had its first performance in the United States of America, in Chicago by the Chicago Opera Company under the direction of Cleofante Campanini in 1917, and was given by the same organization in New York in 1918. (See p. 625.)

With Mascagni's opera, "Le Maschere" (The Maskers), which was produced in 1901, the curious experiment was made of having the first night occur simultaneously in six Italian cities. It was a failure in all, save Rome, where it survived for a short time.

Of the unfortunate results of Mascagni's American visit in 1902 not much need be said. A "scratch" company was gotten together for him.

With this he gave poor performances at the Metropolitan Opera House, of "Cavalleria Rusticana," "Zanetto," and "Iris." The tour ended in lawsuits and failure. "Zanetto," which is orchestrated only for string band and a harp, was brought out with "Cavalleria Rusticana" in a double bill, October 8, 1902; "Iris," October 16th.

CAVALLERIA RUSTICANA

RUSTIC CHIVALRY

Opera, in one act, by Mascagni; words by Giovanni Targioni-Toggetti and G. Menasci, the libretto being founded on a story by Giovanni Verga. Produced, Constanzi Theatre, Rome, May 17, 1890. London, Shaftesbury Theatre, October 19, 1891. Covent Garden, May 16, 1892. America: Philadelphia, Grand Opera House, September 9, 1891, under the direction of Gustav Hinrichs, with Selma Kronold (_Santuzza_), Miss Campbell (_Lola_), Jeannie Teal (_Lucia_), Guille (_Turiddu_), Del Puente (_Alfio_). Chicago, September 30, 1891, with Minnie Hauck as _Santuzza_. New York, October 1, 1891, at an afternoon "dress rehearsal" at the Casino, under the direction of Rudolph Aronson, with Laura Bellini (_Santuzza_), Grace Golden (_Lola_), Helen von Doenhof (_Lucia_), Charles Ba.s.sett (_Turiddu_), William Pruette (_Alfio_), Gustav Kerker, conductor, Heinrich Conried, stage manager. Evening of same day, at the Lenox Lyceum, under the direction of Oscar Hammerstein, with Mme. Janouschoffsky (_Santuzza_), Mrs. Pemberton Hincks (_Lola_), Mrs. Jennie Bohner (_Lucia_), Payne Clarke (_Turiddu_), Herman Gerold (_Alfio_), Adolph Neuendorff, conductor. Metropolitan Opera House, December 30, 1891, with Eames as _Santuzza_; November 29, 1893, with Calve (debut) as _Santuzza_.

CHARACTERS

TURIDDU, a young soldier _Tenor_ ALFIO, the village teamster _Baritone_ LOLA, his wife _Mezzo-Soprano_ MAMMA LUCIA, Turiddu's mother _Contralto_ SANTUZZA, a village girl _Soprano_

Villagers, peasants, boys.

_Time_--The present, on Easter day.

_Place_--A village in Sicily.

"Cavalleria Rusticana" in its original form is a short story, compact and tense, by Giovanni Verga. From it was made the stage tragedy, in which Eleonora Duse displayed her great powers as an actress. It is a drama of swift action and intense emotion; of pa.s.sion, betrayal, and retribution. Much has been made of the role played by the "book" in contributing to the success of the opera. It is a first-rate libretto--one of the best ever put forth. It inspired the composer to what so far has remained his only significant achievement. But only in that respect is it responsible for the success of "Cavalleria Rusticana" as an opera. The hot blood of the story courses through the music of Mascagni, who in his score also has quieter pa.s.sages, that make the cries of pa.s.sion the more poignant. Like practically every enduring success, that of "Cavalleria Rusticana" rests upon merit.

From beginning to end it is an inspiration. In it, in 1890, Mascagni, at the age of twenty-one, "found himself," and ever since has been trying, unsuccessfully, to find himself again.

The prelude contains three pa.s.sages of significance in the development of the story. The first of these is the phrase of the despairing _Santuzza_, in which she cries out to _Turiddu_ that, despite his betrayal and desertion of her, she still loves and pardons him. The second is the melody of the duet between _Santuzza_ and _Turiddu_, in which she implores him to remain with her and not to follow _Lola_ into the church. The third is the air in Sicilian style, the "Siciliana," which, as part of the prelude, _Turiddu_ sings behind the curtain, in the manner of a serenade to _Lola_, "O Lola, bianca come fior di spino" (O Lola, fair as a smiling flower).

With the end of the "Siciliana" the curtain rises. It discloses a public square in a Sicilian village. On one side, in the background, is a church, on the other _Mamma Lucia's_ wineshop and dwelling. It is Easter morning. Peasants, men, women, and children cross or move about the stage. The church bells ring, the church doors swing open, people enter. A chorus, in which, mingled with gladness over the mild beauty of the day, there also is the lilt of religious ecstasy, follows. Like a refrain the women voice and repeat "Gli aranci olezzano sui verdi margini" (Sweet is the air with the blossoms of oranges). They intone "La Vergine serena allietasi del Salvator" (The Holy Mother mild, in ecstasy fondles the child), and sing of "Tempo e si mormori," etc.

(Murmurs of tender song tell of a joyful world). The men, meanwhile, pay a tribute to the industry and charm of woman. Those who have not entered the church, go off singing. Their voices die away in the distance.

_Santuzza_, sad of mien, approaches _Mamma Lucia's_ house, just as her false lover's mother comes out. There is a brief colloquy between the two women. _Santuzza_ asks for _Turiddu_. His mother answers that he has gone to Francofonte to fetch some wine. _Santuzza_ tells her that he was seen during the night in the village. The girl's evident distress touches _Mamma Lucia_. She bids her enter the house.

"I may not step across your threshold," exclaims _Santuzza_. "I cannot pa.s.s it, I, most unhappy outcast! Excommunicated!"

_Mamma Lucia_ may have her suspicions of _Santuzza's_ plight. "What of my son?" she asks. "What have you to tell me?"

But at that moment the cracking of a whip and the jingling of bells are heard from off stage. _Alfio_, the teamster, comes upon the scene.

He is accompanied by the villagers. Cheerfully he sings the praises of a teamster's life, also of _Lola's_, his wife's, beauty. The villagers join him in chorus, "Il cavallo scalpita" (Gayly moves the tramping horse).

_Alfio_ asks _Mamma Lucia_ if she still has on hand some of her fine old wine. She tells him it has given out. _Turiddu_ has gone away to buy a fresh supply of it.

"No," says _Alfio_. "He is here. I saw him this morning standing not far from my cottage."

_Mamma Lucia_ is about to express great surprise. _Santuzza_ is quick to check her.

[Ill.u.s.tration: Gadski as Santuzza in "Cavalleria Rusticana"]

_Alfio_ goes his way. A choir in the church intones the "Regina Coeli." The people in the square join in the "Allelujas." Then they kneel and, led by _Santuzza's_ voice, sing the Resurrection hymn, "Inneggiamo, il Signor non e morto" (Let us sing of the Lord now victorious). The "Allelujas" resound in the church, which all, save _Mamma Lucia_ and _Santuzza_, enter.

_Mamma Lucia_ asks the girl why she signalled her to remain silent when _Alfio_ spoke of _Turiddu's_ presence in the village. "Voi lo sapete" (Now you shall know), exclaims _Santuzza_, and in one of the most impa.s.sioned numbers of the score, pours into the ears of her lover's mother the story of her betrayal. Before _Turiddu_ left to serve his time in the army, he and _Lola_ were in love with each other. But, tiring of awaiting his return, the fickle _Lola_ married _Alfio_. _Turiddu_, after he had come back, made love to _Santuzza_ and betrayed her; now, lured by _Lola_, he has taken advantage of _Alfio's_ frequent absences, and has gone back to his first love.

_Mamma Lucia_ pities the girl, who begs that she go into church and pray for her.

_Turiddu_ comes, a handsome fellow. _Santuzza_ upbraids him for pretending to have gone away, when instead he has surrept.i.tiously been visiting _Lola_. It is a scene of vehemence. But when _Turiddu_ intimates that his life would be in danger were _Alfio_ to know of his visits to _Lola_, the girl is terrified. "Battimi, insultami, t'amo e perdono" (Beat me, insult me, I still love and forgive you).

Such is her mood--despairing, yet relenting. But _Lola's_ voice is heard off stage. Her song is carefree, a key to her character, which is fickle and selfish, with a touch of the cruel. "Fior di giaggiolo"

(Bright flower, so glowing) runs her song. Heard off stage, it yet conveys in its melody, its pauses, and inflections, a quick sketch in music of the heartless coquette, who, to gratify a whim, has stolen _Turiddu_ from _Santuzza_. She mocks the girl, then enters the church. Only a few minutes has she been on the stage, but Mascagni has let us know all about her.

A highly dramatic scene, one of the most impa.s.sioned outbursts of the score, occurs at this point. _Turiddu_ turns to follow _Lola_ into the church. _Santuzza_ begs him to stay. "No, no, Turiddu, rimani, rimani, ancora--Abbandonarmi dunque tu vuoi?" (No, no, Turiddu! Remain with me now and forever! Love me again! How can you forsake me?).

[Music]

A highly dramatic phrase, already heard in the prelude, occurs at "La tua Santuzza piange e t'implora" (Lo! here thy Santuzza, weeping, implores thee).

_Turiddu_ repulses her. She clings to him. He loosens her hold and casts her from him to the ground. When she rises, he has followed _Lola_ into the church.

But the avenger is nigh. Before _Santuzza_ has time to think, _Alfio_ comes upon the scene. He is looking for _Lola_. To him in the fewest possible words, and in the white voice of suppressed pa.s.sion, _Santuzza_ tells him that his wife has been unfaithful with _Turiddu_.

In the brevity of its recitatives, the tense summing up in melody of each dramatic situation as it develops in the inexorably swift unfolding of the tragic story, lies the strength of "Cavalleria Rusticana."

_Santuzza_ and _Alfio_ leave. The square is empty. But the action goes on in the orchestra. For the intermezzo--the famous intermezzo--which follows, recapitulates, in its forty-eight bars, what has gone before, and foreshadows the tragedy that is impending. There is no restating here of leading motives. The effect is accomplished by means of terse, vibrant melodic progression. It is melody and yet it is drama. Therein lies its merit. For no piece of serious music can achieve the world-wide popularity of this intermezzo and not possess merit.

[Music]

Mr. Krehbiel, in _A Second Book of Operas_, gives an instance of its unexampled appeal to the mult.i.tude. A burlesque on this opera was staged in Vienna. The author of the burlesque thought it would be a great joke to have the intermezzo played on a hand-organ. Up to that point the audience had been hilarious. But with the first wheezy tone of the grinder the people settled down to silent attention, and, when the end came, burst into applause. Even the hand-organ could not rob the intermezzo of its charm for the public!

What is to follow in the opera is quickly accomplished. The people come out of church. _Turiddu_, in high spirits, because he is with _Lola_ and because _Santuzza_ no longer is hanging around to reproach him, invites his friends over to his mother's wineshop. Their gla.s.ses are filled. _Turiddu_ dashes off a drinking song, "Viva, il vino spumeggiante" (Hail! the ruby wine now flowing).

The theme of this song will be found quoted on p. 609.

_Alfio_ joins them. _Turiddu_ offers him wine. He refuses it. The women leave, taking _Lola_ with them. In a brief exchange of words _Alfio_ gives the challenge. In Sicilian fas.h.i.+on the two men embrace, and _Turiddu_, in token of acceptance, bites _Alfio's_ ear. _Alfio_ goes off in the direction of the place where they are to test their skill with the stiletto.

_Turiddu_ calls for _Mamma Lucia_. He is going away, he tells her. At home the wine cup pa.s.ses too freely. He must leave. If he should not come back she must be like a kindly mother to _Santuzza_--"_Santa_, whom I have promised to lead to the altar."

"Un bacio, mamma! Un altro bacio!--Addio!" (One kiss, one kiss, my mother. And yet another. Farewell!)

He goes. _Mamma Lucia_ wanders aimlessly to the back of the stage. She is weeping. _Santuzza_ comes on, throws her arms around the poor woman's neck. People crowd upon the scene. All is suppressed excitement. There is a murmur of distant voices. A woman is heard calling from afar: "They have murdered neighbour Turiddu!"