of at ”. She may however have joined imparts the requisite solidity of tonal foundation to the (Rustic Chivalry) BNOC after it left Covent Garden, or perhaps she was specially whole performance.” A Melodrama in One Act by - English words by Frederic E.Weatherly. promoted from the chorus for this recording. She did record Principals, Chorus and Orchestra of the British National Opera Company, (1935-1926) for the small Beltona but she is not Biographical Notes © Chris Ball conducted by mentioned in any of the standard reference books nor any of the biographies or autobiographies of musicians who had A Pristine Audio restoration by Andrew Rose. 1 Prelude [1.55] 11 So thou seest what thou hast done [2.46] connections with BNOC. Booklet design: Divine Art 2 Siciliana [2.09] 12 Ah, ‘tis the Lord who hast sent thee [2.53] Print preparation: Blake Printers Ltd. Aylmer Buesst (1883-1970) was born in . He With thanks to Chris Ball for providing worked with the Moody-Manners Company – a touring 3 Prelude (reprise) [2.20] 13 Sweet Mistress Santa [1.42] the biographical notes. company founded by the husband and wife team of and Fanny Moody – before joining the Beecham © Divine Art Limited 2005 4 Opening Chorus [2.41] 14 Intermezzo [2.45] company. He was one of the founders of the BNOC and he wrote a concise and lucid analysis of Wagner’s Ring which 5 Tell me, Mother Lucia [2.41] 15 Now homeward returning [2.03] is well worth reading. Divine Art, Diversions, Athene and Pilgrim’s Star CDs are produced by us and are available through all good 6 Gaily go my horses fleet [2.12] 16 Drinking Song [2.36] Eugene Goossens (1867-1958) must not be confused either record stores and mail order companies. with his father or his son, both also called Eugene, He was You can also use our direct secure on-line store and 7 Easter Hymn [5.34] 17 Ah! My friends, I salute you [2.47] chief conductor with the Burns-Crotty, Arthur Rouseby browse the catalogue in detail (including reviews and and Moody-Manners companies which existed before the artist profiles) at 8 Mother, you know the story [3.06] 18 Mother, that wine burns me [3.21] First World War. He was also chief conductor for the Carl Rosa Company from 1899 to 1915 before joining Beecham’s www.divine-art.com 9 You here, Santuzza? [2.39] 19 FINALE: Turiddu, where go you? [1.16] company. It was his son who composed the in which Noble created roles. Goossens made a few recordings by The Divine Art Record Company 10 O gentle flower of gold [2.41] the acoustic process but his crowning glory was undoubtedly 8 The Beeches, East Harlsey this which was recorded in the Scala Theatre in Northallerton DL6 2DJ, UK March 1927. Hermann Klein’s review in The Gramophone Tel: (+44) (0)1609 882062 Published by Ascherberg Hopwood & Crew total duration (disc A): [50.10] was ecstatic: “It is not a reproduction but the thing itself. Email: [email protected] Perfect in every detail… the singing… touches and CAST: maintains the high level associated with (the singer’s) art Santuzza (betrothed to Turiddu): May Blyth, soprano at its best. Yet I would fain reserve my warmest tribute for Lola, wife of Alfio: Marjorie Parry, mezzo-soprano a quarter where I am as a rule least able to bestow it – I Lucia, mother of Turridu: Justine Griffiths, contralto mean the orchestra. Mr. Goossens must have taken enormous WARNING: Copyright subsists in all recordings issued under this label. Any unauthorised broadcasting, public performance, copying or re-recording thereof in any Turiddu, a young soldier: , pains to secure such a clear, vivid and crisp yet refined manner whatsoever will constitute an infringement of such copyright. In the United Alfio, a teamster: Harold Williams, rendering of Leoncavallo’s clever instrumentation. Kingdom, licences for the use of recordings for public performance may be obtained from Phonographic Performance Ltd, 1, Upper James Street, London W1R 3HG. With Chorus of Villagers Exquisitely balanced and always sufficiently audible, it 2 27 most by being played at the wrong speed (Columbia records to say the least. She studied for a year at the Royal Academy Pietro Mascagni (1863-1945) was the son of a baker week later was informed that he had been awarded of this age played at 80, not 78, rpm). The discerning critic of Music before having private lessons from a professor at in Leghorn, Italy, who became a musician and the first prize. First produced at the Constanzi Theatre , who came to know Mullings well when the . She auditioned for BNOC and afterwards conductor of a band in Cerignola, a small on May 17, 1890, the opera was an instantaneous Mullings joined the teaching staff at the Royal was given a place in the chorus. Luck played a part and in College of Music in 1944, wrote earlier that “Mr. Mullings her second season she was brought out of the chorus to sing Italian town. Learning that Sonzogno, the music success, Mascagni becoming famous literally acted Canio in Pagliacci far beyond the plane of conventional Lauretta in . She quickly graduated to Elisabeth publishers, were organising an operatic competition, overnight. None of his other works have remained of the blood and sand order. His singing is not in Tannhäuser and Ford in . She was an Mascagni decided to submit an opera based on a nearly as popular. exactly all honey, but how intensely he lived in the part! He acclaimed Octavian in Der Rosenkavalier and although we story which had been given to him by Giovanni almost persuades us that there is real tragedy about – that if hear much these days about young opera singers doing too the puppet Canio were pricked, blood and not sawdust would much too soon, so that their careers end prematurely, the Verga. Mascagni and his family were not by any Synopsis come forth.” management at Covent Garden placed extraordinary demands means affluent, and he had to borrow his railway on Parry. She was required to sing on tour five performances fare to Milan, where he hoped to find someone to We are in a rural village in Sicily, on Easter Morning. Harold Williams (1893-1976) was born in Sydney and each two weeks, and to have no less than fourteen roles: Eva, supply the libretto. After much disappointment, he Turiddu, a young peasant, son of Lucia, has returned moved to to further his training and career Elsa, Alice Ford, Lola, Rosalinda, Octavian, Musetta, Jack opportunities. He excelled as a recitalist and an (The Wreckers), Nedda, Liu, Marguerite, Leonora (Il finally arranged for Targioni-Tozetti to write the from military service to find that his sweetheart Lola performer as well as appearing in opera. His operatic roles Trovatore), Gerhilde (Die Walküre) and a Flower Maiden. text. The latter failed to finish it, and to assist him, has married Alfio, a prosperous village haulage ranged form Wolfram in Tannhäuser to Iago in , to brought in G. Menaschi, who completed the work. contractor (or “teamster”). Spitefully, and deeply the title rôle in Boris Godunov. His notable interpretation of (1899-1966) was another native of Bristol. hurt, he pursues and seduces Santuzza. However, can be heard in two complete recordings made 17 His singing began in the British cathedral tradition and after years apart (the earlier of which is available on Divine Art service in the First World War he was heard by Percy Pitt Mascagni then started work on the music. The Lola’s love for him revives, and he, still smitten Historic Sound 27802). He was not afraid to sing in who auditioned him for Covent Garden, where he made his townspeople of Cerignola laughed at the idea of with her, accepts her once again. At the beginning contemporary works – Britten’s The Rape of Lucretia for début as Marullo () in 1924. He sang regularly at Mascagni, an unknown rustic, competing. The opera of the opera, the curtain is down and Turiddu sings example. He returned to his native Australia from 1940 to Covent Garden until the theatre closed at the outbreak of the completed, it arrived three days late, but fortunately from behind it, by way of prelude to the story, a 1946 and again in the early 1950s. He later taught at the New Second World War. There, he created the roles of Sam Weller South Wales State Conservatorium of Music. in ’ Pickwick, Anchior in Judith and Don Jose for the composer, it was not disqualified. A few days song to Lola, declaring the love which has brought in Don Juan de Manara, the last two by Goossens. He sang later, Mascagni’s spirits were raised by notification him once more to her side, and hinting at some dark May Blyth returned to her alma mater and was Professor of with the Carl Rosa Company as well as with BNOC. Like that his opera was one of 72 accepted for audition, shadow which lies over their futures. Singing at the in her native London, many of his generation he led a lucrative and busy career as and a request for him to travel immediately to Rome. after her retirement from performing. She appeared in all of a concert and oratorio singer, opportunities which are no the BNOC seasons at Covent Garden and appeared extensively longer available to the same extent to the modern generation Again he had to borrow money for the journey. He The curtain rises to the song of peasants coming in concerts and broadcasts. She was married to the conductor of singers. His recorded legacy is large and all his records took with him a short song, at that time not in the from their early morning toil to attend the Easter Aylmer Buesst. are marked by immediate characterisation and crystal clear score of the opera, which turned out to be the festival in the village church. Santuzza, burning with diction. “Siciliana”. This was played over with the rest of anxiety and suspicion, enters and asks Lucia about Marjorie Parry was also married to a conductor: she was Mrs from 1932 to 1936. she was born in Information on Justine Griffiths has eluded me. She is not the opera at the audition, and its reception persuaded Turiddu’s movements. Lucia, trying to protect her Bristol and, by current standards, her vocal training was brief listed as a principal in Harold Rosenthal’s “Two Centuries him to include it. Mascagni returned home, and a son, tells her that her son has gone for wine to the 26 3 neighbouring Francofonte, but Santuzza reveals that and when she clings to him, flings her to the ground, BNOC’s first artistic director was Percy Pitt, who relinquished San (sharing the rôle with Toti dal Monte and Rosetta in fact he had never left the village. Upon this scene and leaving her senseless on the steps of the church the post in 1924. Pitt had been music director with the Grand Pampanini in separate seasons), Desdemona (opposite Renato Opera Syndicate and went on to work at the BBC. His Zanelli’s Otello), Donna Elvira (in a cast that included of Santuzza’s misery, and the mother’s newly-roused enters in pursuit of Lola. successor was , a baritone who in 1920 Elisabeth Schumann and Mariano Stabile) and Eurydice suspicions, Alfio breaks in, returning with his team, arranged the music for a revival of The Beggar’s Opera at (opposite Dame Clara Butt’s only Covent Garden appearance, and singing a song of his hard but happy life, and As Santuzza recovers herself, she finds Alfio near Hammersmith, which was very successful. The Board of as Orfeo). In addition to a large number of separate recordings of his utter faith in his pretty wife Lola. His joy is her, and maddened by Turiddu’s cruel behaviour, BNOC included several famous musicians of the time: Norman of arias and ensembles, Licette sang Marguerite in the Allin the bass, conductor Aylmer Buesst, Walter Hyde, tenor, complete recording of under Beecham, as well as fleeting, however, for the mention by Lucia of she tells Alfio of his wife’s dishonour, and of Percy Pitt, the bass, and Agnes Nicholls, substantial extracts from . All her recordings show Turiddu’s name reminds him that he had seen him Turiddu’s betrayal. Alfio, in some way already soprano and wife of Sir . A new generation a pure, even and musical soprano although occasionally her only that morning lurking by his cottage. But prepared for this, vows vengeance on the guilty pair. of British singers and conductors began their careers with English pronunciation is very much of the era. Santuzza will not betray her faithless lover, and bids BNOC but like so many similar ventures BNOC failed for financial reasons. Essentially, a tax demand for £17,000 led Heddle Nash (1896-1961), like Licette, made his début in Lucia be silent. From the church we hear the sound After a short pause, during which the stage remains to the company going into voluntary liquidation. The Royal Italy after studying in Milan with Giuseppe Borghatti, who of the mass, and the villagers, assembling in the empty and we hear the famous Intermezzo, the Opera House stepped in and for three years it existed as the became Italy’s leading heldentenor of his day. Nash sang at square, sing their Easter anthem, and all go in to the villagers come from the church with Lola and Turiddu Covent Garden English Opera Company. , Sadler’s Wells and with the BNOC before also service together. among them, and as they all crowd round him he singing as a freelance artist at Covent Garden. His repertoire The fact that back in 1927, Columbia decided to make ranged from Rodolfo in La Bohème to Don Ottavio in Don merrily sings a drinking song, and recklessly toasts complete recordings of both “Cav” and “Pag” must be a Giovanni and an incomparable David in Die Meistersinger. Left alone with Lucia, Santuzza tells her miserable Lola, to which she as carelessly responds. At this testament to the popularity of BNOC. Eighty years ago Nash sang at the inaugural Glyndebourne seasons and he story, of how Turiddu had won her love and taken most inopportune moment the injured husband complete opera recordings were a rarity though with the was the leading oratorio tenor of his age. His complete her honour, and then had gone back to his old love returns. He enters with set face, and though he greets advent of electric recording the number began to rise. The recording of Elgar’s is the touchstone singers on these recordings were all BNOC stalwarts, and by which others are judged. He sang Faust in the first Beecham Lola. Just then Turiddu enters, looking no doubt for his friends it is evident to all that something awful five in particular – , Heddle Nash, Frank recording as well as Act IV of La Bohème under the same Lola, and certainly very perturbed to see Santuzza is about to occur. So, when Turiddu offers Alfio a Mullings, Harold Williams and Dennis Noble, left fairly large conductor. instead. She reproaches and implores him in turn. cup, Alfio indignantly refuses the invitation. A cup recorded legacies. But he will not relent, because now Lola’s love is from the hand of Turiddu would be a poisoned one, (1881-1953) was another leading singer Miriam Licette (1892-1969) studied with such luminaries with both Beecham and BNOC. His repertoire included all he wants, and Santuzza is nothing to him. As if he believes. Lola knows all is discovered, and is as Mathilde Marchesi (with whom Melba studied for a year), Tristan, Radames and Otello. It is often difficult to reconcile to emphasise the bitterness of this blow, Lola is terrified at what might be coming next. The women and Sabbatini (who also taught John Mullings’ reputation, based upon reading contemporary heard singing outside, and presently enters, only to whisper together, and lead her away. Then Alfio McCormack). Unusually for a British singer of this era, reviews, with the recorded evidence, as he sings with a banter with Turridu and mock at Santuzza. Turridu challenges Turiddu to a duel, according to local Licette made her début in Rome before she was 20. Like commitment for which the fragile recording apparatus was is infuriated at Lola’s mockery, which he attributes custom, by biting the left ear, and goes out to the many of her contemporaries, she was a member of both the ill-equipped. The timbre of his voice seems not to have been Beecham company and BNOC before appearing in her own sympathetic to the early microphones [though the Columbia to Santuzza’s presence. He tells Santuzza to leave appointed meeting-place. After a heart-broken right in major roles at the International Seasons at Covent engineers on this recording did a very good job] but, perhaps him, turns a deaf ear to her prayers and reproaches, farewell to his mother, and one touch of remorse in Garden. She appeared as, among other characters, Cio-Cio- more importantly, Mullings’ recordings suffer more than 4 25 TONIO CANIO (stabbing Nedda) which he bids her guard Santuzza, who he had so Cavalleria Rusticana was recorded in 1927 and Silence, fool! Take that, and that! PEPPE In thy last dying agony thou'lt tell! wronged, Turiddu follows his adversary. The fight issued on Columbia 10” dark blue label records. I am afraid! VOICES IN AUDIENCE is soon over. Santuzza, who has just heard what has SILVIO Stop him! Oh, the play is a strange one, NEDDA happened, rushes to Lucia to ask for her lover. But Catalogue and matrix numbers: I can bear it no more! Help me, Silvio! the only answer is the cry of the villagers: “Turiddu NEDDA SILVIO For thine anger I care not. Love is a weapon stronger! Nedda! is killed! Turiddu is killed!” Thus “Rural Chivalry” 5127 WA6670 Thus I defy thee! I fear thee no longer! CANIO (to Silvio, as he stabs him) is satisfied, and the curtain falls upon the fainting WA7896 CANIO So! 'Twas you then! 'Tis well! His name! His name! MEN forms of Lucia and Santuzza. 5128 WA6699 NEDDA Help! Help! Arrest him! WA6671 No! WOMEN SILVIO Father of pity! Technical Note by Andrew Rose: 5129 WA6672 What in the devil's name?.....He's in earnest! CANIO (Cavalleria Rusticana) WA7893 The comedy is ended. 5130 WA6687 CURTAIN ”When I put the first side of this recording on my WA6688 turntable for the first time I was totally astonished 5131 WA7895 at the sound quality. At the time I had yet to research WA7894 THE PLAYERS: In their short stay at Covent Garden, BNOC achieved a the date of recording, so I immediately assumed it 5132 WA6700 notable first. The matinee performance of Hansel and Gretel, The British National Opera Company (BNOC) emerged with as Hansel, on 6 January 1923, was the was much later than 1927. The set was one of my WA6676 from the collapse of the Beecham Opera Company which first broadcast in Europe of a complete opera (Though one earliest acquisitions, but, due to a variety of 5133 WA6689 ceased its operations in December 1920. In its short existence source, Music Masterpieces magazine, claims that only two diversions, it sat on the shelf for nearly two years WA6690 from the first performance ( in Bradford on 6 February acts were broadcast, and the accolade belongs to Pagliacci, before I tackled it properly for this release. 5134 WA6701 1922) to the last (Cavalleria Rusticana and Pagliacci in broadcast the following day). As a mark of the prestige Golders Green, London, on 16 April 1929), BNOC made which BNOC earned, several operatic celebrities were WA6702 an important impact on the operatic establishment of the prepared to perform with the company. Dame , Clearly the Columbia engineers of the day were good 5135 WA6703. day. After initial refusals, the Grand Opera Syndicate, who Joseph Hislop, Edward Johnson and Dinh Gilly all appeared at their job - despite this being so early in the era of WA6704 were lessees of Covent Garden, allowed BNOC to perform during the company’s London seasons. Most of the company’s microphone recordings, the only major problem to 5136 WA7257 there. The season opened with Miriam Licette as Mimi. activities involved touring in the provinces and it was not BNOC provided varied seasons at the Opera House from afraid to introduce new and adventurous repertoire. Obviously deal with was a tendency towards overload WA6705 1922 to 1924 inclusive before moving to His Majesty’s it championed contemporary British operas, such as Holst’s distortion at the highest peaks. Otherwise the discs Theatre. The change of venue was necessitated by the fact At the Boar’s Head and The Perfect Fool, and Vaughan were in excellent condition, and I was able to work that, despite the satisfactory box office receipts and favourable Williams’ Hugh the Drover. It even produced Pelleas and with minimal intervention.” press, the Syndicate decided to resume the old summer Melisande in English, featuring Maggie Teyte who had seasons. studied the rôle with Debussy. 24 5 LIBRETTO: LUCIA CANIO So true it all is seeming. What then? What want you? God! Am I dreaming? What she said this morning MEN [1] Prelude But courage! Some one was here with you! Silence down there, quiet keep. SANTUZZA NEDDA SILVIO [2] TURIDDU (from behind curtain) Where is Turiddu? What nonsense! You've been drinking! Ah, can it be I'm dreaming. CANIO CANIO O Lola! pretty one, white as the may, love, - Been drinking!...... Yes, I think so! I hoped, in my passion so blindly confiding, Red as the rose thy cheeks, fair as the day, love, LUCIA NEDDA If not for love, for pity sweet, Ah, for that heart of thine, loving and tender, Why then come you You're back too early. I loved thee more than God in heav'n abiding, Life, soul and all that is mine, here I surrender, To ask me where my son is? CANIO All my life and my being, I laid at thy faithless feet! Dark though the shadows be over thy portal, SANTUZZA In time though! Thou fearest! I dreamt thou wast true! I would I ne'er had met thee! Bodeth it heav’n or hell, love is immortal; Ah, be not angry, Mother, Art thou sorry, my sweetest, my dearest? I thought of thee pure and stainless as the morn, So when I die at last, we shall not sever, It is all that I ask thee. Where is Turiddu? Ah nay, thou wast not lonely. Thou hast broken my heart, I live but to forget thee. Heav’n would be where thou art, sweet, then and for ever! Who has been with thee here? Thou hast my love, but now thou hast my hate and scorn! LUCIA NEDDA AUDIENCE [3] Reprise of Prelude The Fool Taddeo - only! Bravo! I know not. Why do you trouble me? (The curtain rises. The stage is empty) In fact, he's in the cupboard, hiding! [23] NEDDA Come out!...... explain! Well, then, if you deemest me so unworthy, SANTUZZA [4] CHORUS OF WOMEN (offstage) TONIO Come, let me go and leave thee. Mother Lucia, on my knees I implore thee; Sweetly the birds in the myrtles are carolling, Believe me, sir, thy wife is true. She'd never grieve thee! CANIO As our Lord was of old to Magdalene, Those pious lips of hers would ne’er deceive thee. No doubt! No doubt! And set thee free, Bright gleam the orange flow’rs, citron, and bay. So be thou kind to me! Tell me, dear mother, I implore thee, where CANIO And let thy lover's arms receive thee! Ah, golden time of spring, is Turiddu? When life and love are gay, Traitor! False woman, No! Thou shalt remain, I swear it. Dost thou forget that I am also human? I want thy lover's name - Come then - declare it! When all our hearts sing LUCIA Tell me his name! NEDDA Ever a joyous lay! He went last night for wine to Francofonte. NEDDA I never knew that you, my dear, (The women enter) Whose name? Were such a tragic fellow, SANTUZZA CANIO You here will see no tragedy, CHORUS OF MEN (offstage) Nay, last night in the village here they saw him. Tell me then, by God who made me, My dearest Punchinello! Across the field we hear your happy voices, Within whose shameless arms thou hast betrayed me? The man who's been to sup with me, Afar we hear your busy spindles humming; LUCIA NEDDA And caused you all this bother, And, listening, every heart with love rejoices, What say you? Has he perchance returned? Punchinello! Punchinello! Was only Harlequin you see, As home to you with joyous feet we’re coming! (She goes towards her cottage and points to it) [22] CANIO Poor Harlequin, no other! O Love, thou star of our being! Hearts that we worship, Enter! No! Punchinello no more! I am a man again, CANIO As the eagles fly homeward to you we’re coming! With aching heart and anguish deep and human, Ah! Dost thou mock me? My rage thou still defiest. (The men enter) SANTUZZA (shrinking back) Calling for vengeance, for blood to wash away the stain, Say who's thy lover - this moment - or thou diest! Into your house I dare not enter! I, who am accursed! Thy foul dishonour, thou shameless woman! NEDDA Enter Santuzza and Lucia No! Punchinello no more! Fool that I sheltered thee! No! By my mother's soul, unworthy though thou call me, LUCIA And made thee mine by every tender token! I will not tell thee, whatever fate befall me! [5] SANTUZZA What of my son, then, have you to tell me? Of the love that I gave thee, what is there left to me? VOICES IN THE CROWD Tell me, Mother Lucia – What have I now, but a heart that is broken? Are they in earnest? What are they doing? SANTUZZA WOMEN PEPPE Ah, my heart is broken! Sweet gossip, ah, it makes me weep, Let us be going, Tonio! 6 23 The moment's advancing! HARLEQUIN The sound of bells and horses’ hooves is heard from outside. Then ALFIO And Harlequin is waiting there! Yes, or I'll make thee! enter Alfio and the Chorus. It is not true! ‘Twas but this morn I saw him TADDEO TADDEO (to Harlequin) Beside my cottage lurking. Behold her! Ah! How surpassing fair! What! You love her! [6] ALFIO Ah, just to tell her, rebellious maiden, Then I must hand her over! Gaily go my horses fleet, LUCIA (with surprise) Just to tell her the love with which I'm laden! My blessing for you! Jingling bells and tramping feet:- How so? All safe and clear, now! Yonder shall I watch o'er you! Who’s for the road, So-ho! No husband near now! COLUMBINE Though my back is white with snow, SANTUZZA (aside to Lucia) Why should I fear now? Harlequin! Rain may beat and tempest blow, Be silent! There's no one to suspect me. HARLEQUIN Never a care I know. While I gaily sing my song, Come, Love! Direct me! My Columbine! Ah, how we've prayed, dear, (Singing is heard from the church – Lucia points to it) COLUMBINE And Love has heard our prayer. As my wagon rolls along – Who’s for the road, Ho-la! Well, fool? Is't thou? COLUMBINE ALFIO (shaking his head) The supper's laid, dear! TADDEO I cannot enter. Go ye to Mass without me. See here, see here, my dearest dear, CHORUS Yes, 'tis I. (he exits) COLUMBINE The supper that I've bought thee! Oh, the jolly life, boys, Hast thou seen Punchinello? HARLEQUIN Free from care and strife, boys, [7] CHORUS (within the church) TADDEO Observe, my love, my dainty dove, He drives his team along! Regina coeli, laetare, He went just now. The splendid wine I've brought thee! Hey for the road, boys! Etc. Alleluia! COLUMBINE BOTH ALFIO Quia quem meruisti, portare, Come then, what were you sent for? For love is very fond of wine, So whereso’er I roam, boys, Alleluia! Where is the fowl you went for? And partial to the kitchen My wife keeps watch at home, boys. Resurrexit, sicut dixit, TADDEO HARLEQUIN Tender and true is she— Alleluia! Low at thy feet it is lying. My greedy little Columbine! Her heart’s my sweetest treasure, See us both. Ah! I implore thee COLUMBINE Her love my brightest pleasure, Luckless couple here before me! My toper most bewitchin'! CHORUS (of people in the square) She’s all the world to me, O, Columbine - be mine, be mine! HARLEQUIN (taking a phial from his breast) O rejoice that the Lord has arisen! So I gaily sing my song, Hear, O, maiden tender! Take then this little philtre fine, He has conquered the power of the grave, As I drive my team along – From the day - Give it to thy husband, He has broken the gate of the prison, Then who’s for the road, Ho-la! COLUMBINE Pour it in his wine, He has risen in glory to save! How much, I say? And then let's fly, my dear! CHORUS Your reck'ning render! COLUMBINE [8] SANTUZZA Oh, the jolly life, boys, etc TADDEO Yes - give it to me! Mother, you know the story? Ere he to war departed TADDEO Turiddu swore to Lola ever to be true-hearted – (Just one and threepence!) - Hear me say LUCIA (to Alfio) Beware! Thy husband is here! Through days and years, through hopes and fears, true-hearted! How I love thee and adore thee! Ah, my friend, you are happy For weapons seeking, with anger stamping, He came! But she was wedded. Know you the tale, dear mother? COLUMBINE To be always so gay. Get away, get away! All's discovered! I'd better be decamping. To a new love he turned him – thus to forget the other. COLUMBINE (to Harlequin) [20] TADDEO (to Columbine) ALFIO (gaily) He loved me! I loved him! I love him still! Fly, then. Pure! Yes, I know thou art, Mother Lucia, They met again! Then with the old love waking, [21] HARLEQUIN (as he enters) Pure as the snow flake falling, Have you no more that good old wine? All her vows forsaking, wild in her jealous madness, Why wilt thou close thy heart Here’s the philtre. Pour it in his wine, love! She stole my lover, and all my gladness! Unto my calling? Dearest, say, COLUMBINE LUCIA Why, ah why should I live, then? – Must I leave thee and forsake thee? Tonight, and for ever, I shall be thine, love! Not yet. Turiddu has gone away to buy some. Honour and love departed! 22 7 LUCIA TURIDDU TONIO (to Canio) He has not seen us! Ah, my poor Santa! Is this the news you tell me on this holy Easter? Ah, were you spying? Ah! Calm yourself, my master. 'Tis best to make believe! SILVIO The lover will return, I am convinced of it. Tonight, remember, love! [9] TURIDDU (entering) SANTUZZA Trust me to watch her. Now is the time the play began. I shall be there! You here, Santuzza? No. I swear I spied not. The news was just now told me Who knows? Haply the lover will be here tonight, PEOPLE By the husband of her – who is – thy love! And will betray it. Come then, we must dissemble Now then, begin the play, SANTUZZA If we would win. Have done your prating! For you I’m waiting. TURIDDU PEPPE (to Canio) Why keep us waiting? Is this thy love for the love I gave you? Come, come, go dress yourself, I pray you Begin, I say! Time to begin! TURIDDU (pointing to the church) Would you then kill me? (to Tonio) Let's make a din! ‘Tis Easter! Why go you not yonder? And you play up your drum there, Tonio! SANTUZZA CANIO It's seven o'clock that's certain! Ring up the curtain! SANTUZZA Ah, say not that, Turiddu! To act, with my heart maddened with sorrow, Silence, you there! I cannot! I have something to tell you. I know not what I am saying or what I am doing. TURIDDU Yet I must face it. Courage, my heart! Begin! Begin! Thou art not a man! Thou'rt Punchinello! TURIDDU Go then and leave me! In vain you strive [15] On with the motley and the paint and the powder, Act 2, Scene 2 – The Play Where is my mother? To change my anger, to change my scorn. The people pay thee, and want their laugh you know. [18] COLUMBINE SANTUZZA If Harlequin thy Columbine has stolen, SANTUZZA My husband Punchinello You love Lola! Laugh, Punchinello! The world will cry "Bravo!" Will you not listen? Go hide with laughter thy tears and thy sorrow, Comes not till morning; nobody’s about. Taddeo's at the market - lazy fellow! TURIDDU Sing, and be merry, playing thy part, TURIDDU (hastily) All is safe, all is quite safe. No! Laugh, Punchinello, for the love that is ended, Not here! Not here! HARLEQUIN (outside) Laugh, for the pain that is breaking thy heart. O, Columbine, unbar to me SANTUZZA SANTUZZA Thy lattice high, So sweet she is, so lovely. [16] Intermezzo Where have you come from? I watch and sigh, Longing to hear thee, TURIDDU Act 2, Scene 1 (Scene as in Act 1) TURIDDU And be near thee, as the hours go by. Silence! I love her not. O, show thy little face to me, Why do you ask me? - [17] WOMEN (arriving) So dear, thou art, From Francofonte. Quickly, sweet gossips, come, SANTUZZA Thou hast my heart, The show's beginning. You love her! - And I - I curse her! Ah, do not vex me, SANTUZZA Hark how they beat the drum, Tease and perplex me, how can I live Nay, it is false! TURIDDU Oh, what a dinning! Without thy loving heart? Santuzza! Come quickly, come, I say, O, Columbine, then list to me, TURIDDU Let's get good places. Thy door unbar, Santa! I swear to you - SANTUZZA TONIO Come down, my star! Yes, that accursed woman Walk up and see the play, Look down above me, Come down, and love me, SANTUZZA Hath stolen thy heart from me! All take your places. See, where alone I sigh! Nay, but thou liest! SILVIO For if thou lov'st me not, With mine own eyes did I see you last night, TURIDDU Nedda! Let me die! And at this very dawn they saw you stealing Hear me, Santuzza – vain is thy pleading. NEDDA [19] COLUMBINE From the cottage of Lola! Thou wilt not turn me, thou wilt not move me. Be careful, Ah yes! 'Tis now the hour entrancing! 8 21 Remember I still that dream divine, TONIO SANTUZZA TURIDDU (to Lola) I want thy heart, thy passionate kisses, Next time, I expect to do better! Spurn me then - scorn me, then, cold and unheeding; Come, Lola, come. Why do we tarry longer? I want thy spirit to melt in mine! NEDDA Yet I forgive thee – still I shall love thee! NEDDA You make me hate and loathe you. LOLA (shaking him off) Can I forget, as I see thee before me, TONIO [10] LOLA (outside) Stay – with your lover! The spell of love thy heart has woven o'er me? Love me, or hate me! 'Tis nought to me. O gentle flower of gold, By the words thou hast spoken, the ties that have bound me CANIO Close to my beating heart I hold thee, dreaming, SANTUZZA (to Turiddu) All I want is thy love, folded around me. So again she's fooled me. Baffled again! Heav’n has no flow’r above so sweetly gleaming! Turiddu, Stay then! Ah, do not leave me! Wherefore must we never? He knows this path too well. But no matter. Yes, yes! So much to tell thee. Thou hast my heart, and I am thine for ever! This moment you shall tell me your lover's name. O gentle flow’r of love, LOLA (ironically) SILVIO/NEDDA NEDDA Heav’n has a thousand stars of gold above me, Let me give you my blessing, my pretty lovers! Forget the past, think not of tomorrow! Who? I ask but one in all the world to love me, NEDDA CANIO O gentle flow’r of love! [Lola exits into the church] Look in mine eyes, and kiss away my sorrow. You, by Heav'n eternal! (Lola enters) SILVIO And if here now this moment, I do not slice you dead Ah, Turiddu! Tell me, where is Alfio? [11] TURIDDU In thy eyes, dear, I kiss away my sorrow. (drawing dagger) So thou seest what thou hast done. SILVIO 'Tis because before I kill thee, and thy blood stains my dagger, TURIDDU Wilt come? Thou shameless woman, thou shalt tell me I cannot tell you. I know not. SANTUZZA NEDDA Who is thy lover. Tell me! It was thyself. ‘Tis well. So be it. Yes! Take me, love! NEDDA LOLA [13] TONIO (to Canio) Vain are thine insults. My lips are sealed for ever. Maybe he lingers by yonder smithy. TURIDDU (making as to strike her) Tread lightly, lightly, and you will catch them so! CANIO He will soon be coming. By heaven! SILVIO His name, I tell thee. This moment, thou shalt tell me. (ironically) And you – is this the place for your devotions? At midnight, dearest, I wait thee below! NEDDA SANTUZZA Come to me, dearest, when the starbeams shine. No! No! Never will I tell thee. TURIDDU (confused) Spare me not – slay me! NEDDA CANIO Santuzza here was saying - Tonight, and for ever, I am thine! By Heav'n, I'll kill thee. TURIDDU (restraining himself) CANIO (overhearing) (Peppe, entering, snatches dagger from Canio) SANTUZZA No! Ha! [14] PEPPE Yes, I said today was Easter, NEDDA (to Silvio) Ah stay, good master, for the love of Heav'n, And that our Lord all hearts beholdeth. SANTUZZA (clinging to him) Fly! The people! See! They're coming. Turiddu – hear me! NEDDA Look, where they come from church, to see us play, LOLA (pointing to the church) TURIDDU (throwing her aside) Ah, Heav'n protect him now! Come away. Be calm, I pray. Why are you not at Mass then? Go! CANIO CANIO Coward! Where art thou? Leave me, I tell thee. His name, then, his name! SANTUZZA SANTUZZA TONIO (laughing) PEPPE Ah, nay! They only pray Stay, stay, Turridu! Why art thou so cold and unheeding? Ha! Ha! Tonio, come here and hold him, Whose hearts are free from sin and stainless. Ah, take me back to thy heart once more. NEDDA (to Tonio) The people come this way. Don't let them see you. Well done, well done then, Tonio And Nedda, you go hence, I pray. LOLA TURIDDU TONIO Go hence and dress yourself. Then thanks be to Heav’n! I am quite holy. Nay! All is over. Vain is thy pleading! Yes - yes I did it. You know well, Canio is hasty but tender. Why wilt thou keep me? I love thee no more. NEDDA CANIO SANTUZZA (ironically) Nay! All is over. Vain is thy pleading! Just like you, you coward! 'Tis shameful, shameful! Ah, you are holy – you are oh so holy, Lola! My heart is steel – my heart is steel! 20 9 SANTUZZA To make a home for Lola, [10] TONIO NEDDA Turiddu, hear me! List to my calling! Lola has brought thy happy home dishonour! You mock me? Too long I've borne it. Nay be not anxious! For such a passion, See my tears are falling! By the cross of the Saviour, Nedda, I'll make thee pay, A whip is the fashion. ALFIO I've sworn it! SILVIO TURIDDU Ah, Santuzza – by Heaven! Tell me what mean you? NEDDA Why wilt though live, then, for ever like this, Nedda? Go – go and leave me. Seek not to move me, You threaten? Must I then call Canio? [11] My fate is in thy hands, Vainly you love me. SANTUZZA TONIO Nedda, pity my sorrow, What has been said can ne’er be unspoken. ‘Tis true! Turiddu hath stolen mine honour, But not before I kiss thee! Tonight the fair is o'er, And your false wife hath stolen his heart from me. NEDDA Thou wilt be gone tomorrow. SANTUZZA Hands off! Ah what of me, when thou art departed, My heart is broken! ALFIO TONIO How shall I live apart from thee Stay, stay, Turiddu! Why art thou so cold and unheeding? If thou liest, Santuzza, I swear to kill thee. No! No! Thou shalt me mine. And broken hearted? Etc, etc. NEDDA (striking Tonio with whip) NEDDA SANTUZZA Unhand me, wretch! Silvio! Beware! Ah, no! My lips would not deceive thee, TONIO SILVIO ‘Tis but the truth I say. By the Holy Virgin of the Assumption, Nedda, Nedda, Nedda, hear, I implore thee! TURIDDU By all this shame of mine, by all my sorrow, I swear it, I'll be revenged upon thee. If for thy husband no passion inspires thee, If all this roving life sickens and tires thee, Rage on! I care not for your anger. It is the truth, the bitter truth, I tell thee. NEDDA If this great love of ours is not empty delight, {He pushes her away and strides into the church] Viper, begone! Thou hast revealed thy nature as a fool. Thou hast Come fly with me, fly with me, dearest, tonight! [13] ALFIO a heart as foul and ugly as thy body, aye! Fouler still! NEDDA SANTUZZA (bitterly) Sweet Mistress Santa, one day I will thank thee! Ah, tempt me not! Has not life enough of sadness? Curst be thine Easter, you traitor! Scene 3 Silvio, tempt me no more. 'Tis folly, 'tis madness! [She falls exhausted] SANTUZZA Have I not given thee my heart? Thou hast my love for aye Ah, wretched I, that told thee all thy woe! SILVIO Then say goodbye and part. Thou wilt not then betray [enter Alfio] Nedda! Ah tempt me not for pity's sake, my heart will break! ALFIO NEDDA Who knows, dear heart, 'tis best to part! [12] SANTUZZA (recovering) Ah, faithless traitors, my heart is broken! Silvio! At this hour. What madness! Tears are vain, all is vain; we must not meet again. Ah! ‘tis the Lord who hath sent you, Master Alfio! His doom is spoken! SILVIO And yet remembering all our love, since first I met thee, Bah! Bah! No danger, dear, I'm thinking, Ere day is done, his blood shall flow. I shall dream of thee, live for thee, never forget thee. Canio I left at yonder tavern drinking. ALFIO (calmly) SILVIO By the pathway that we love, through the bushes I came hither. Have they finished their praying? SANTUZZA No! You do not love me! NEDDA What have I said? What have I done? TONIO (watching) A moment sooner and Tonio would have caught thee. SANTUZZA I've caught thee, thou traitoress! SILVIO Yes – it is finished. ALFIO NEDDA Come, then, listen… Lola betrays you for Turiddu! By all my shame I swear it – Ha! Ha! The fool? I love thee, love thee! My love is turned to bitter hate, NEDDA SILVIO ALFIO (astonished) Or e’er the stars in Heav’n may shine, The fool is to be feared. He loves me. And yet you leave me tomorrow. What do you tell me? His blood shall flow – revenge is mine! Just now he told me. [12] Why hast thou taught me love's magic story, With burning words and brutal fire, If thou wilt leave me, hopeless alone? SANTUZZA [Exit Alfio] He tried to kiss me in his mad desire. Why press to mine thy lips in their glory, That while you were driving SILVIO Why fold thy heart unto mine own? In storm and tempest, [14] Intermezzo By heaven! If thou forgettest all our caresses, 10 19 In love's dream so fair. Far! Oh so far they fly on wings untiring, [15] CHORUS OF VILLAGERS Fill high, fill high your flagons, But mothers have watchful eyes, Seeking sweet regions they may never know, Now homeward, now homeward returning, Merrily the wine is winking, etc, etc. Beware! Oh beware! For what can bar their dreams and desiring? Sing we a merry lay, Enter Alfio Soon in the twilight, 'Tis fate that leads them, still on they go! Ah, happy Easter-day; bright happy Easter-day! Homeward away! away! Love will be told; (Tonio enters) [17] ALFIO But the old folks are watching, NEDDA My friends, I salute you! Be not too bold! What? Thou! I thought that thou wast gone to market! [16] TURIDDU (to Lola, who is leaving) Ding dong! All above, TONIO Sweet Mistress Lola, are you going to leave us ALL All around is bright with love. The fault lies in thy singing. Thy song bewitched me. Without one little word of greeting? Ding dong! The shadows fall, I could not leave thee. You are welcome, Alfio. Come, one and all! NEDDA (Laughing scornfully) LOLA Ha! Ha! How very poetical. I must not linger, for my husband is waiting! TURIDDU Scene 2 TONIO You are welcome. Let’s have a drink together. Do not laugh, Nedda. TURIDDU Come, then, here is the goblet (He fills a cup) [7] NEDDA NEDDA Ah, what of that, dear? Let him wait then. [to the villagers] How fierce he looked and watched me! Go to the tavern. ALFIO Then come, my friends, I say, I hung my head, fearing lest he should discover [9] TONIO Thank you. The wine you give, I cannot drink it; And drink a cup together. My secret thoughts of my lover. I know that you hate me and laugh in derision, [He fills and lifts a cup of wine] There is poison within it. I will not drink it. Heav'ns! If he should suspect me, For what is the Jester? He plays but a part. See the merry wine is winking, With all his brutal ways! No matter! I fear not, Yet he has his dream, and his hope and his vision, See the bubbles brightly blinking, TURIDDU These are but empty dreams and idle fancies. The Clown has a heart. Then, comrades, let’s be drinking ‘Tis as you please. (He throws the wine to the ground) O Shine, thou glorious sun, upon me! And ah when you pass me, uncaring, unseeing, With a merry roundelay! [to Alfio] Every pulse is throbbing, glowing, You know not my sorrow, so cruel and sweet, Here’s the friend who will not sever, Like the tide, my passion flowing, I give you my spirit, my life, and my being, Have you still something to tell me? Here’s the love that loves for ever, Oh my heart, my restless heart, where art thou going? I die at your feet. Here’s the wine that fails us never, Ah, ye beautiful song-birds! I hear your pinions, Ah, hear me then, hear me then, ALFIO Fill, then, high, and drink away! What seek ye? Whither going? Who knows? Let me tell thee - I ? - Nothing! Viva! drink! and join the chorus, My mother knew the meaning of your sweet voices, NEDDA (interrupting) Though tomorrow darken o’er us, And the song she sang me in happy childhood, - You love me. What care we what lies before us, TURIDDU Comes back for ever! 'Tis time enough to tell me this evening. While we’ve wine to quaff today! Well, then I am here at your service. [8] High aloft they cry, This evening when you're playing the fool, Through Heaven's blue ether launched in their flight, With sighs and grimaces, CHORUS ALFIO Like arrows of light, in the sky. Why not postpone the confession till then? Viva! viva! You mean it? The storm clouds and the tempest, the sunlight defying, TONIO See the merry wine is winking, etc, etc. For ever flying - through the boundless sky! No, 'tis now I will tell it thee TURIDDU Afar, ever they journey! On, upward ever! And thou shalt hear me now. TURIDDU (to Lola) I mean it. Oh! Wearying never, their fetterless wings unfold, I love thee, worship and long for thee, To all true lovers! (he drinks) They have their visions, their tender beautiful visions, To make thee mine for ever. They soar for ever through clouds of gold, NEDDA LOLA (to Turiddu) [They embrace, but Turiddu bites Alfio’s right ear as a challenge] What though the wind howls, and night is dark above them, Tell me, Master Tonio, To your long life and fortune! (she drinks) Spreading their pinions by planet and star, Do thy shoulders itch for a drubbing? ALFIO No night dismays them, no storm delays them, Or do thy ears want a rubbing? CHORUS Master Turiddu, I will accept your challenge. They soar for ever o'er sea and scar. How shall I teach thee to cool thy love? Drink on! Drink on! So be it then. We understand each other. 18 11 TURIDDU LUCIA [4] CANIO CANIO Master Alfio, I know that I have wronged you; Why say you this, my son? Alas, what mean you? This evening at seven of the clock I invite you You think so? But blame not Lola. By Heaven above thee, To see our performance, I know 'twill delight you. [5] Such a game, believe me, friends, is hardly worth the playing, I swear the fault was mine alone. TURIDDU We'll show you the sorrows of poor Punchinello, Let Tonio ponder what I'm saying. But if you kill me, who will care for Santa, Nay, mother, ‘tis nothing. I was only dreaming. And the vengeance he wreaked on a treacherous fellow; For the Stage and Life are different, you'll discover; Lonely and deserted? Who will protect her? Be not afraid, sweet mother; but pray for me to Heaven; And Tony the clown with his big corporation, For if up there (pointing to the Theatre) I caught her - my lady, And strange combination of love and of hate. Ah, that I had loved her! Ah, poor Santa! Farewell – one kiss, dear mother – only once more. with a lover, O come then, and honour us, Come then, let’s try whose knife is longest. Farewell! And if I die, be thou to her a mother. I'd preach her a little sermon, and get into a passion, You'll all be delighted, Farewell, mother, farewell! Then calmly I'd seat me there, At seven you're invited, ALFIO (he exits hastily] At seven you're invited! And let her lover beat me there, I’m ready. Let him win whose arm is strongest. VILLAGERS While the people would applaud in the customary fashion! I await you yonder in the garden. [19] LUCIA (rushing after him) With pleasure, with pleasure! But if Nedda - in earnest should deceive me, (Exit) Turiddu! Where go you? Turiddu! We all are delighted, The ending would be different, believe me. (to Santuzza, who enters) At seven we're invited! Mark the words that I am saying, [18] TURIDDU (calling) Santuzza! At seven we're invited! Such a game, believe me, friends, is hardly worth the playing! Mother! (Tonio advances to help Nedda down from the cart. But Canio NEDDA [Lucia enters] SANTUZZA boxes his ears.) What can he mean? Mother, that wine burns me like fire! Ah, dearest mother! CANIO VILLAGERS Why did I drink it? It burns me! Get away! But surely you cannot suspect her. (Lifts Nedda down) I am going, dearest mother. [Santuzza throws herself into Lucia’s arms, as the stage fills with CANIO WOMEN (to Tonio) But ere I leave thee, bless me, O my mother, a crowd, looking frightened, questioning one another. There are No, no, of course not. That could not be, How d'you like it, pretty lover? As once you blessed me when I went to battle. confused sounds without] I love her and respect her. BOYS Yet one thing, mother, one only: How d'you like it? [6] BOYS If I return not, mother, for ever, VOICES (outside) (Tonio shakes his fist at boys) Hark! 'Tis the bagpipes! The pipers coming. Guard my poor Santuzza, and be to her a mother; Turiddu is killed ! Turiddu is killed! TONIO (aside) MEN She whom I deserted will have no one beside thee. Oh he shall pay me, you'll discover! See where the people churchward are going! Guard her, O my mother! – my poor Santuzza! [Santuzza and Lucia fall senseless, surrounded by the village VILLAGER (to Canio) OLD PEOPLE women, and the curtain falls quickly] Say! Wilt drink with me a measure? Hark, to the bagpipes so merrily blowing! They sell good liquor at the tavern yonder. Gaily the couples to vespers are going! END CANIO WOMEN With pleasure! Come away! PEPPE The grey twilight falleth, I say! Wait you two! The angelus calleth! I'll come with you! CANIO CANIO Yes, but remember, pray, Hi! Tonio, art thou coming? TONIO At seven you're invited! I've got to clean the donkey. “BELL CHORUS” I shall be after you. Ding dong! The shadows fall, NOTE: The libretto printed is taken so far as possible from the actual singing, as this varies from Weatherly’s original. This VILLAGER (to Canio) Then come, one and all! applies to both operas. Take care, my master. He waits till you're departed, to go a-courting To the church come away, Nedda. Ding dong! We roam along, 12 17 LIBRETTO Here's a pretty Columbine And Punchinello, I PAGLIACCI [1] Act I Prelude A merry fellow, An Opera in Two Acts by Ruggiero Leoncavallo, English words by Frederic E. Weatherly. With laugh and jest Principals, Chorus & Orchestra of the British National Opera Company, [2] PROLOGUE (TONIO) They come, they come. conducted by Eugene Goossens Snr. A word - allow me! Sweet ladies and gentlemen, Look how sedately He smiles and passes, I pray you hear, why alone I appear, 1 Act I Prelude [2.39] 13 Tread lightly, lightly [2.43] I am the Prologue! Beating his drum Our author loves the custom of a prologue to his story, With a nod to the lasses. And as he would revive for you the ancient glory, BOYS 2 Prologue [4.51] 14 Ah, stay, good master [2.42] He sends me to speak before ye. Hi there! Harlequin! But not to prate, as once of old, Whip up your donkey! 3 They come, they come [2.38] 15 On with the motley [2.36] That the tears of the actor are false, unreal CANIO Go to the devil That his sighs and cries, and the pain that is told, 4 This evening at seven o’the clock [2.24] 16 Act II Intermezzo [2.32] - He has no heart to feel PEPPE Take that, you monkey! No! No! Our author tonight a chapter will borrow Keep back! They're coming now, From life with its laughter and sorrow. 5 Such a game [2.33] 17 Quickly, sweet gossips [2.37] The waggon's coming! Is not the actor a man with a heart like you? Oh what an awful row! So 'tis for men that our author has written, 6 Hark, ‘tis the bagpipes [3.40] 18 Opening of the play [2.32] Oh what a drumming! And the story he tells you is true! VILLAGERS A song of tender memories deep in his listening heart Hail, Punchinello! 7 How fierce he looked [1.55] 19 Ah yes, ‘tis now the hour [2.32] One day was ringing; and then with a trembling hand, he wrote Long live the merry king, it, Who keeps us mellow! And marked the time with sighs and tears... Come then 8 High aloft they cry (“ballatela”) [2.38] 20 Pure, yes I know thou art [2.39] He is the blithest fellow! Here on the stage you shall behold us, in human fashion, Long life to him we sing, And see the sad fruits of love and passion! Hail, Punchinello! etc…'85.. 9 I know that you hate me [2.37] 21 Pour the philtre in his wine [2.22] Hearts that weep and languish, cries of rage and anguish, CANIO And bitter laughter... Ah think then - sweet people, Thank you! 10 You mock me? [2.37] 22 No, Punchinello, no more [2.23] When ye look on us, clad in our motley and tinsel, VILLAGERS Ours are human hearts, beating with passion, Bravo! 11 My fate is in thy hands [2.41] 23 If thou deemest me so unworthy [2.45] We all are men like you, for gladness or sorrow, CANIO 'Tis the same broad Heaven above us, Allow me. The same wide world lies before us! VILLAGERS 12 Why hast thou taught me [2.41] Will ye hear then the story, how it unfolds itself, surely and certain? Now then begin the play! total duration (disc B): [62.19] Come then! Ring up the curtain! CANIO (beating drum) CAST: Gentlemen all. Nedda act 1/Columbine act 2: Miriam Licette Act 1, Scene 1 – Before the Theatre VILLAGERS You deafen us. Do stop, I say! Canio act 1/Punchinello act 2: Frank Mullings [3] OPENING CHORUS - MEN AND WOMEN CANIO Tonio act 1/Taddeo act 2: Harold Williams They come, they come, A word, a word, I pray! Peppe act 1/Harlequin act 2: Heddle Nash With pipe and drum, VILLAGERS This way they come, Hush! Hush! Do be quiet pray, Silvio: Dennis Noble This way they come, Begin and say your say! With Chorus of Villagers and Peasants 16 13 Like Mascagni, Ruggiero Leoncavallo (1858-1919) Silvio, and arranges to run away with him after the although subsequently disqualified, they had a 1927 recording, made a little earlier in the year. is very largely remembered by one work, though his evening performance. However, Tonio overhears established a precedent from which the Cox’less Yet again the discs were in excellent condition, and song Mattinata was a standard ballad in the early their planning, and tells Canio that his wife intends Fours were to develop. Weatherly earned his living this time I had two complete sets to work from. By 20th century, and his version of La Bohème is to leave him. Canio confronts Nedda, demanding to first as a coach in Oxford and subsequently as a comparison to later British 78s of the 1930's and regaining popularity. Pagliacci (“The Players”) is be told the name of her lover and when she refuses, lawyer, but he is best known as a . He is 40's, which tend to be very crackly, the surface noise certainly, after over a hundred years, still one of the he threatens to kill her, but is prevented by Peppe. said to have written over 3,000 songs, of which the on these records was quite low to start with and the two most popular short operas of the present day, best known are “Roses of Picardy” and the most crackle minimal. Again there was an occasional the other of course being the accompanying In Act II, the players present their comedy and its famous words ever written for the Londonderry Air tendency to peak distortion, and an occasional Cavalleria Rusticana. This popularity, in the original situations prove so similar to the real life happenings - “Danny Boy”. rawness in some female vocals, but programme notes issued with this recording in 1927, of the previous Act, that firstly the players gradually once these difficulties had been overcome this is owed as much to “its strong and concisely revert to their own real-life personalities (hence the Technical note by Andrew Rose: recording was a real pleasure to work on!” developed plot as to the melodious and always references to the characters in the libretto); secondly, “Like its cousin Cavalleria Rusticana, Pagliacci was appropriate music.” Leoncavallo was his own librettist the strain is too great for Canio, and instead of Pagliacci was recorded in the Scala Theatre, London, March 1927, and issued in September 1927 by Columbia and the story is founded upon an actual incident he pretending to stab Nedda as Columbine in the play, on its 10” dark blue label. It is believed to be the first ever electric recording in Britain of a complete opera. himself claimed to have witnessed. The opera was he does so in reality. Silvio attempts to go to her first produced at the Dal Verme, Milan, on May 7, assistance, thus revealing himself as her lover, and Catalogue and matrix numbers: 1892, and achieved instantaneous success. The first is killed by the enraged husband. Turning to the London performance was on May 19, 1893. horrified audience, Canio closes the curtains with 4347 WA 5007 4353 WA 5049 the cry, “The comedy is ended”. WA 4999 WA 5029 Synopsis 4348 WA 5000 4354 WA 5026 Frederic Edward Weatherly attended Brasenose WA 5045 WA 5003 A company of strolling players, headed by Canio College, Oxford, from Hereford Cathedral School 4349 WA 5062 4355 WA 5044 and his young wife, Nedda, arrive at a village in in 1867, and was awarded a B.A. in Classics in WA 5009 WA 5066 Calabria, Italy. Canio heads off to the inn with the 1871. In 1868 he achieved a certain fame on, or in, 4350 WA 5010 4356 WA 5068 villagers, and Tonio, left alone with Nedda, declares the river. The Brasenose rowing crew had practised WA 5048 WA 5064 his love for her. She repulses him and when he for Henley Regatta without a cox; on being informed 4351 WA 5027 4357 WA 5063 becomes insistent, slashes him across the face with that they must carry one they decided to do so, but WA 5001 WA 5069 a whip. In fury, he leaves her, vowing revenge. for him to jump overboard immediately after the 4352 WA 5002 4358 WA 5065 Nedda, tired of her wandering life and her passionate beginning of the race. Weatherly volunteered to WA 5030 WA 5067 husband, is herself in love with a young villager, take the dive and the crew went on to win the race; 14 15