Pietro Mascagni's Opera "Cavalleria Rusticana" Author(s): C. P. S. Source: The Musical Times and Singing Class Circular, Vol. 31, No. 571 (Sep. 1, 1890), pp. 537-538 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3363426 Accessed: 02-07-2018 17:48 UTC

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This content downloaded from 129.105.215.146 on Mon, 02 Jul 2018 17:48:48 UTC All use subject to http://about.jstor.org/terms THE MUSICAL TIMES.-SEPTEMBER I, 1890. 537

counter attraction to the Festival under the name of a But the jury saw more in it. They at once noted that this " Festival Programme." Richter conducted a splendid unknown per- composer was not a mere tyro; that he had the formance of the " G6tterdiimmerung." true gift-so rare now-a-days-of melody, and that he had On the I6th an antidote to a too rabid Wagnerianism treated Verga's subject with extraordinary inventive power was provided by the most charming rendering andof originality," Don free from all affectation. It was on these Juan" it has ever been the writer's fortune to groundssee. Even that the jury decided to put the opera on the stage the unfortunate r6le of Don Ottavio was made interesting, in first-rate style, entrusting the leading parts to such and Leporello and the Don himself were admirably renowned played. artists as Signor Stagno and Signora Bellincioni, What a treat it was to find one hearty round of who applause threw into their work that divine flame which really suffice to express the feelings of the audience dramatic after music can alone inspire. favourite pieces, and no encore nor acknowledgment One of great the merit of Signor Mascagni's opera is its concise- applause interfere with the development of the ness-to plot. wit, A the fact of the libretto closely following Verga's delightful little two-act opera, by Berlioz, " Beatrice play, and and thus, by a rapid and uninterrupted succession of Benedict," newly arranged for the stage, preceded dramatic a ballet incidents and contrasts, rivetting the attention of on the I7th, and on the I8th " Lohengrin " was playedthe audience for from beginning to end. The plot may be the 2ooth time in the Vienna Opera-6o times in summed the old up in a few words. The scene of the opera is a house, and 140 in the present beautiful temple. Andvillage from in Sicily, on Easter Day. All the villagers are all the stir of the Festival gaiety, from the generosity wending which their way to High Mass, except Santuzza spared no expense, from the gorgeously mounted (theopera, heroine), the a sweet, sympathetic, and withal passionate mind of a musical pilgrim turns irresistibly, and orphan with girl a of true southern type, who is anxiously waiting quiet reverence, to the little sanctuary in Heiligenstadt, for her lover, Turridda, a young soldier on leave, who where Beethoven offered his worship to the God ofbelongs Nature; to the village. He has promised to marry her; to the upper room in Schwarz Spaniergasse, whence she has lovedhis him not wisely but too well, and her anxiety great spirit winged its flight through the storm; asor toto her that condition is intensified by her well-founded other chamber of death, where Mozart's gentler suspicion spirit that her lover is unfaithful to her, and has clan- attained the " Requiem ZEternam." No present triumph destine meetings of with Lola, an old flame of his, now their ever-living genius makes us grudge them their married rest:- to Compar Alfio, an elderly, well-to-do vetturino, whose frequent absence from the village renders the With quiet sadness, but no grief, we learn to think upon them In meekness that is thankfulness to God whose heaven hath won them. intimacy between his young wife and Turridda all the more easy. Santuzza has in vain endeavoured to find out from Turridda's old mother the whereabouts of her lover, when he himself appears on the PIETRO MASCAGNI'S OPERA " CAVALLERIA scene, and his evasive and insolent answers lead RUSTICANA." to a violent scene of recrimination, at the end of which Santuzza throws herself at her faithless lover's feet and THIS opera was brought out at the Costanzi implores Theatre him not of to forsake her. He savagely thrusts her Rome towards the end of last spring, and so aside, extraordinary and at this moment Lola, in her best holiday attire, was the enthusiasm, nay, the sensation it passescreated, on thather way to church, stops, and smilingly some over-excitable southern admirers of addresses the composer Turridda, with a sneering hint at the cause of loudly proclaimed him the successor of Verdi, poor Santuzza found notat going to Mass on Easter Day like other last. Certain it is that all critics, without people.exception, Lola passeswere on, and Turridda follows her, in spite agreed as to the highly dramatic, spirited, ofand Santuzza's fascinating entreaties not to do so, whereupon the poor character of the music. Even Signor Sgambati, girl, exasperated by no at his treachery, calls out after him means given to judge lightly or hastily, pronounced " Allora Mala this Pasqua a te" (" Well, then, ill-luck come music " so excellent and touching as to be above to thee criticism." this Easter Day ! ") Left alone, she is giving vent " Cavalleria Rusticana," or " Rustic Chivalry," to her despair derives, at being thus abandoned by her lover who at the outset, special interest from the fact has ruinedthat it her, was when Alfio unexpectedly returns, and awarded the first prize (?I20) in a competition Santuzza, instituted maddened with jealousy, opens his eyes as to last winter by Signor Sonzogno, the well-known the intimacy publisher between his wife and Turridda. In the of Milan, for the best opera in one act, to bemeantime, selected Mass by beinga over, the villagers are emerging jury composed of the leading Italian musical from church, savants and of among them Lola in the company of the day. No less than sixty-seven MS. operas Turridda, were both sentbeing keenly watched from behind a tree in, and several of these treated the subject by of Alfio, " Cavalleri who now vows vengeance in truly Sicilian Rusticana," a short and extremely popular fashion; one-act whilst play poor b) Santuzza steals into church alone Giovanni Verga, who has gained renown by after the all vividnessthe others have left it. Turridda, not suspecting and incisive vigour with which, in the formthat his of intimacy short with Lola is known to her husband, novels, he has portrayed village scenes invitesof hot-blooded the latter and other friends to celebrate Easter Day Sicily. Among the competing composers who had by drinking each other's health in his mother's best wine, selected this subject was also Signor Gastaldon, whose which the old woman grudgingly provides; but Alfio melodious song, " Musica proibita," a year or two ago dashes the proffered cup to the ground, and calls upon reigned supreme in every Italian drawing-room, and who Turridda to step outside the village with him to settle a expected to gain an easy victory by spinning out Verga's matter concerning them both. Turridda, knowing what play into an opera of three long acts, written in much the this portends, embraces Alfio as a preliminary to the fight, same pleasing, though superficial style as the song but instead of kissing him, bites his ear, which in Sicilian which brought his name before the public. However, rustic chivalry means: " Either I kill you or you kill me." experience soon taught him that it is one thing to write They a leave the scene, and presently, amidst the growing popular song and another to write an opera; so much excitement of their friends, Pippuzza, the village gossip, so that, seeing others in the field with the same subject, bursts in upon the terrified company with the wild cry he withdrew his opera from the competition, and brought " Turridda is killed, Turridda is killed" ! Curtain drops. it out separately under the title of " Mala Pasqua," The opera begins with a prelude in which the composer or " Unlucky Easter," at the Costanzi Theatre in Rome, has introduced a Sicilian serenade sung by Turridda where it was deservedly consigned to oblivion after two orbehind the curtain, and in which are also very skilfully in- three performances. Signor Mascagni was wiser in histerlaced some phrases afterwards repeated in the duet generation. He is but a modest music master at a local between Turridda (tenor) and Santuzza (soprano). This college in an obscure little town on the Adriatic, where he prelude, owing to the novel feature above referred to, at obtained his post after having studied composition under once arrests attention, and, upon the curtain rising, is Ponchielli at Milan for some years, and then, assisted byfollowed by a gay, pastoral chorus of the villagers in waltz generous friends, in Leghorn, his native town. He sent intime, while the church bells are ringing for Mass. The his " Cavalleria Rusticana" without having any interest, next number-viz., Santuzza's sad story told by herself, conscious only that he had done his best, and that this and ending with her cry of anguish, " Io piango, piango, opera was the result of earnest labour and assiduous study. piango," is one of the most pathetic parts of the whole

This content downloaded from 129.105.215.146 on Mon, 02 Jul 2018 17:48:48 UTC All use subject to http://about.jstor.org/terms 538 THE MUSICAL TIMES.-SEPTEMBER I, 18go90. opera, and it is only equalled, if not surpassed, and by other the compositions for the church. He became rector duet between her and her faithless lover. This duet is of Cople, in Bedfordshire, in 1847, and he built an organ interrupted by a peculiarly piquant, derisive with Sicilian his own hands, and constructed a chiming apparatus, " stornello," sung by Lola (mezzo-soprano) foras she which is he had composed a set of 120 changes on five passing on her way to church; and the effect of bells.this very original cantilena, with the oboe as counterpoint, is heightened by the flute subsequently repeating the air MUSIC IN BRISTOL. like a mocking echo, to the pizzicato accompaniment of the strings, as Lola is moving away and disappears on (FROM OUR OWN CORRESPONDENT.) entering the church. The sacred chorus, sung imme- THE rehearsals of the Bristol Musical Festival Choir,. diately afterwards to Mass inside the church, is impressive, which were suspended for the holiday season, have been but too long. Alfio's serio-comic "muleteer" air (bari- resumed. The vocal works that are to be performed at the tone), as well as his duet with Santuzza, when, impelled Festival at the end of October are now tolerably well known by passion and jealousy, she reveals his wife's infidelity to him, are not equal to the other numbers, though, as to the choir, and the remaining two months will suffice to complete their study. regards the duet, this is owing simply to its being written as an Andante, whereas the situation and Santuzza's The second season of the new series of Monday Popular state of mind require a quick agitato movement. (Orchestral) On the Concerts will open on October 6. The other hand, the orchestral intermezzo which follows, gatherings will take place fortnightly as heretofore, with a slight variation, so that the Triennial Musical Festival dividing the whole act into two parts, is a beautiful piece of writing, the more so as the effect is obtained by maythe not be interfered with. It is gratifying to be able to simplest of means, the leading subject, which is con- record the fact that already the majority of last season's subscribers have secured seats for the forthcoming series spicuous by its breadth and pathos, being allotted to the of Concerts, and that many new names have been added violins to the accompaniment of harps and organ. After this intermezzo, the opera rises with a continuous crescendo, to the list of membership of the Society, as it were, till it reaches the climax in the Finale. The During the week ended the I6th ult. an excellent com- pany of Mr. D'Oyly Carte's gave capital representations of chorus of the village people returning from Mass is bright " The Mikado " and "The Yeomen of tile Guard " at the and graceful, though somewhat antiquated in form. Princes' Theatre to crowded houses. Turridda's spirited drinking song, which follows, offers a The local examinations in connection with the National characteristic contrast, and a further contrast is presented Society of Professional Musicians, which have recently by the next scene, the challenge between Alfio and concluded, have been the best on record, the number of' Turridda, which reveals great dramatic power, and is followed by Turridda's pathetic farewell to his mother, candidates far exceeding that of last year. and his remorseful appeal to Alfio to look after poor Santuzza, should he be killed. The last scene, the climax of the opera, is that of the increasing agitation and terror MUSIC IN GLASGOW. of the villagers, portrayed by the chorus growing louder (FROM OUR OWN CORRESPONDENT.) and wilder, while the mortal combat is taking place out- side, until the commotion culminates in the sudden cry INTERESTING efforts have at length been made to "Hanno ammazzato Turridda" (" Turridda is killed"), organise a School of Music on the banks of the Clyde, and followed by Santuzza's agonising shriek, which brings the on a scale of completeness which may fairly claim a large opera to a close. measure of support from, at any rate, the West of Scotland. Such is the short, but extremely effective, picturesque, The scheme, let it at once be said, has been launched by and melodious work, which, by its dramatic verve and the directors of the Glasgow Athenaeum, an institution intensity of local colouring has raised Signor Mascagni dating from the year 1847, and whose objects are, inter alia, all at once from obscurity to fame among his countrymen. to place within the reach of all the utmost facilities for It remains to be seen whether the enthusiastic verdict of systematic study in various branches of useful knowledge. Rome will be endorsed by the less impulsive but more critical While the new venture is to be under the management of audiences of the leading theatres of Northern Italy, the more Athenaeum directors, the names of several patrons, especially those of Milan, Turin, and Bologna, where honorary in and other office bearers, all " good men and due course the opera will be produced. In the meantime, true," will be found in the prospectus, and these include Signor Sonzogno has already commissioned the composer the Lord Provost of Glasgow, Mr. Campbell of Tulli- to write another opera in three acts, for which the publisher chewan, Sir Donald Matheson, Dr. W. A. Barrett, Dr. A. C. himself will supply the libretto; and the Municipality Mackenzie, of Professor Villiers Stanford, Sir George Grove, Rome has honoured him with a similar commission for a and Professor Sir John Stainer. The Principal is Mr. Allan Mass. It is to be hoped that the young composer's Macbeth,new- whose tact, judgment, and cultured taste ought to born fame will not be nipped in the bud by premature stand him in good stead. Mr. Macbeth is associated with a adulation, and that his future works will be as fortunate staff and of about forty professors, many of whom take foremost successful in every respect as his "Cavalleria Rusticana," rank amongst local teachers. The curriculum provides for a by which he has undoubtedly made a great hit. high-class musical education on moderate terms, combined, C. P. S. according to the prospectus, with all the advantages which have proved so successful in the promotion of musical culture in the Continental Conservatoires and the Music OBITUARY. Schools in London and elsewhere. The instruction will be WE regret to announce the death, at his residence,given on the near class system, careful attention being paid to Ross, of the Rev. F. T. HAVERGAL, D. D. pupils Dr. Havergalindividually, and the scheme includes a course of was originally a choir boy in the chapel of seventy New College, lectures on the theory and history of music, Oxford, and was afterwards Vicar-Choral, and acoustics, subsequently &c., as also a ladies' choir for the study and Prebendary, of Hereford Cathedral. He wrote practice several of high-class choral works. Altogether the present works, the latest being the biography of endeavour his friend, to found and maintain a Glasgow Academy or Professor Sir Frederick Gore Ouseley. Dr. Music, Havergal on a solidwas and comprehensive basis, is worthy the the last musical male representative of a family traditions which of has St. Mungo's city, and music lovers will watch for many years been distinguished for its services with interest to church the development of the scheme. music. His father, the Rev. W. H. Havergal, Arrangements was the are now being completed for the usual author of " Old Church Psalmody," the " Historywinter Concerts, of the given under the auspices of the Glasgow Old Hundredth," "A Hundred Psalm and HymnMusical FestivalTunes," Committee and the Council of the Glasgow and other works. His elder sister, Frances Choral Ridley Union. The series will consist of thirteen Sub- Havergal, was the well known poetess and writer scription of hymns, Concerts-three choral, seven orchestral, three of and his brother, the Rev. H. East Havergal, chamber was for music-and, many as of yore, the scheme provides for a years canon of Worcester, and was the composer course of of a Concertslarge at popular prices on the Saturday even- number of double and single chants, services, ings. hymn Engagements tunes, have already been effected with the

This content downloaded from 129.105.215.146 on Mon, 02 Jul 2018 17:48:48 UTC All use subject to http://about.jstor.org/terms