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Pietro MASCAGNI (1863-1945) Cavalleria Rusticana - melodrama in one act
(1890)
Santuzza - Ildiko
Komlosi (soprano); Turridu - Sung Kyu Park (tenor). Alfio - Marco
di Felice (baritone); Lola - Barbara di Castri (alto);
Mamma Lucia - Cinzia De Mola (mezzo)
Orchestra and Chorus of the Teatro San Carlo, Naples/Zhang
Jiemin
rec. live, Ancient Roman baths, Baia, Italy, July 2007
Stage Director: Maurizio Scapparo. Set designer: Nicola
Ribertelli. Costume designer: Zaira De Vuncentiis
Sound format, DD 5.1. DTS 5.1. LPCM stereo. Picture format
16:9 anamorphic
Introductory essay in English, German and French
Subtitles in Italian (original language), English, German,
French and Spanish TDKDVWW-OPCAV [78:00
+ 33:00 (bonus)]
Mascagni
hit the big time by winning the first prize in a competition
sponsored by the publisher Sonzogno with this one act opera Cavalleria
Rusticana. This had a sensational debut at Rome’s Teatro
Costanzi on 17 May 1890. At age twenty-six it was not his
first opera, nor would it be his last. Were it not for Cavalleria
Rusticana the rest of his operatic compositions would
be unknown. As it is only L’Amico Fritz (1891),
of which there is an EMI recording featuring Pavarotti
and Mirella Freni, Isabeau (1910) and Lodoletta (1917)
are performed, and then only very occasionally.
Cavalleria
Rusticana was based on a
play by Varga and was part of a genre that became called verismo.
The accompanying essay, by Guido Fischer, suggests that
Mascagni single-handedly founded the verismo school
with this work. The term is used to describe operas that
moved away from myth or historical stories to draw on
the rawness of contemporary real life. While myth was
the basis of Wagner’s operas, those of the Italian bel
canto practitioners, Rossini, Donizetti and Bellini
being the most prominent, were restricted by political
censorship. Composers were forced to eschew anything
vaguely contemporary or religiously controversial. Verdi
broke away with La Traviata (1853), based on a
contemporary story set in France. He was however thwarted
at the premiere when despite his wishes the opera was
set in an earlier period. By the period of the composition
of Cavalleria Rusticana such restrictions in the
unified state of Italy were gone.
The
story of Cavalleria Rusticana is set in a Sicilian
square in front of a church. It concerns adultery, jealousy
and murder. The opera comprises nine numbers that trace
the mounting tension and conflict between the peasant girl
Santuzza and Turiddu. Turiddu was the man who, having made
Santuzza pregnant has deserted her for Lola, a former inamorata,
who is now married to Alfio the local carter.
After
the short opening prelude (Ch.2) Turiddu is heard serenading
Lola in his Siciliana (Ch.3). This is normally sung
off-stage behind a curtain. In this staging he is high
up in the Roman ruins of the theatre at Baia near Naples.
Immediately a downside of this al fresco Cavalleria is
evident - his voice is far too distant and gets lost. The
plot is set on Easter Day. The set is gradually revealed
at a lower level of the multi-layered stage. Renaissance
frescoes add an evocative and effective touch (Ch.4). Santuzza
asks Mamma Lucia about Turiddu’s whereabouts (Ch.6). As
Alfio passes by, singing of the travelling life of a carter
(Ch.7), a sultry Lola looks on. There are children cracking
whips but no sign of Alfio’s cart. The population gathers
singing the famous Easter Hymn and enter the church
for mass (Ch.9), from which Santuzza is excluded because
of her shameful sin of unmarried pregnancy. She reveals
to Turiddu’s mother his desertion of her and return to
Lola (Ch11). When Turiddu arrives he refuses Santuzza’s
entreaties and spurns her to go into church with Lola (Chs11-14).
Santuzza reveals all to Alfio (Chs.15-16). After the lovely
orchestral intermezzo (Ch.17), as the population
exit from church, the story moves rapidly to its conclusion.
Turiddu drinks wine with Lola and is full of bravado in
a Brindisi (Ch.19). He offers wine to the returning
Alfio who rejects it. As the villagers exit the orchestral
tension rises. A challenge is issued between the two men
and accepted in the traditional Sicilian custom of a bite
on the ear (Ch.20). In preparation for the duel Turiddu
drinks too much of his mother’s wine before asking her
blessing and going off to the fight. This takes place off-stage.
The inevitable conclusion is represented in the orchestra
and in the cries of the women that Turridu has been killed
(Ch.21).
In
England, country house opera is the vogue in the summer
season when the major opera companies are on vacation.
This provides welcome work for singers and orchestral players,
both highly competitive professions. The country houses
concerned, given the English weather, usually provide cover
in the form of a marquee or barn. In Italy, with its profusion
of Roman remains and ducal castles and reliable summer
weather, performances are usually given in the open air.
This performance utilises the Ancient Roman ruins at Baia
near Naples. Three levels of the ruins are used very effectively
with the lowest encompassing and surrounding the orchestra
in a curve. The action moves between the levels with the
director being most effective in his movement of the chorus.
He is less so in inspiring much in the way of acting from
some of the soloists.
One
of the biggest problems with recorded open-air opera is
location of microphones to catch the singing in the manner
necessary to give a realistic sound-stage for the home
listener. Sometimes scenery can help in reflecting the
sound. As far as the singing is concerned there is no such
reflection here and the sound is never focused, often seem
disembodied and sometimes raw. The three levels used do
not help. I have already noted how Turridu’s Siciliana (Ch.3)
sounds far too distant and faint. The seated orchestra,
as one might expect, come off best for sound and offer
greater immediacy. The orchestral playing also has the
benefit of the idiomatic and vibrant conducting of Zhang
Jiemin. She shapes the opening prelude with distinction
whilst phrasing the Intermezzo so as to ravish the
ear. The vibrant chorus are also best caught sonically
when they descend and surround the orchestra. The visual
impact of the Easter Hymn, sung on a higher level
against the lit ruins, is most effective. The video director
flits between mid- and close-up shots rather too frequently
for my comfort.
Of
the soloists, by far the best singing is that of Ildiko
Komlosi, her Voi lo sapete reflecting Santuzza’s
agonies. She has an impressive and steady vocal range as
well as variety of tonal colour. Her acting could be more
involved, often being too simplistic and statuesque as
the drama unfolds. The chubby and unromantic looking Sung
Kyu Park as Turridu sings strongly with some colour. The
bald Alfio of Marco di Felice is tonally monochromic. Barbara
di Castri as Lola looks the part and sings with sonority
whilst Cinzia De Mola as Mamma Lucia is vocally unsteady.
The
bonus track involves half an hour of talking to the director
and, more enjoyably taking us on a tour round Baia. Interspersed
in the talk are excerpts from the opera pointing out the
realisation of the director’s ideas. The part aerial tour
takes in the delightfully picturesque local countryside
along with its hot springs, volcanic vents and hot mud,
as well as the extensive Roman remains. It is no wonder
the place was a favourite of Emperors. Any tourist seeing
this would eschew the honey trap of Capri, where you cannot
get to see Gracie Fields sometime-pad anyway, in favour
of Baia.
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