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     Verdi: AIDA   [Includes RealAudio Selections]      Table of Contents      Leoncavallo: PAGLIACCI   [Includes RealAudio Selections]

The Mapleson Cylinders - Program Notes

- Libretti
- Mascagni: CAVALLERIA RUSTICANA


Mascagni: CAVALLERIA RUSTICANA

The first opera of the now-inseparable "twins" to enter the Met repertory was Mascagni's Cavalleria Rusticana, on December 30, 1891, with Emma Eames and Fernando Valero as Santuzza and Turiddu; it shared a double-bill with Gluck's Orfeo. But its real vogue began the next season, when Emma Calvé--a "woman with hot blood in her veins, whose voice takes color from the situation and occasionally sets one's finger-tips to tingling"--made her debut as Santuzza. In the mid-Nineties, Cavalleria achieved as many as eight performances in some seasons, paired with a variety of works. In the four performances of 1900-01, Gadski and Ternina shared Santuzza; the next year Calvé returned to her famous role, and Mapleson recorded portions of the third of her four performances, a Saturday matinee in which Cavalleria followed Donizetti's Fille du Régiment. The next season she was gone again, and Gadski sang at the work's single performance.

Band 1

Santuzza-Turiddu duet excerpt: "[Batti]mi, insultami, t'amo e perdono"..."Oh! Turiddu, è passato Alfio?"

Emma Calvé (s), Santuzza

Carrie Bridewell (ms), Lola

Emilio De Marchi (t), Turiddu

Metropolitan Opera Orchestra--Phillippe Flon

February 22 (matinee), 1902

[Glackens 43.]

Santuzza, pregnant by Turiddu, has been excommunicated. In the plaza before the church, while the villagers are at Sunday mass, she confronts Turiddu with the evidence that he has been betraying her with Lola, wife of the muleteer Alfio. Lola herself then approaches, singing a popular song.

[original]

SANTUZZA

[Batti]mi, insultami, t'amo e perdono.
ma è troppo forte l'angoscia mia,
ma è troppo forte l'angoscia mia,
l'angoscia mia.

TURIDDU
Bada, Santuzza, schiavo non sono
di questa vana tua gelosia.

SANTUZZA
Battimi, insultami, t'amo e perdono,
ma è troppo forte l'angoscia mia, Simultaneous singing begins
ma è troppo forte l'angoscia mia,
ma è troppo forte l'angoscia mia.

TURIDDU
Bada, Santuzza, schiavo non sono
di questa vana tua gelosia. Simultaneous singing ends

LOLA ( offstage )
Fior di giaggiolo,
gli angeli belli
stanno a mille in cielo,
ma belli come lui
ce n'è uno solo.
Fior di giaggiolo, ecc.
Ah! Ah! Ah! Ah! Ah!
Fior di giaggiolo... ( enters, and stops suddenly )
O! Turiddu, è passato Alfio?

[translation]

SANTUZZA

Beat me, insult me--I love you and forgive you,
but my suffering is too great,
my suffering.

TURIDDU
Take care, Santuzza! I'll not be a slave
to your pointless jealousy.

SANTUZZA
Beat me, insult me--I love you and forgive you,
but my suffering is too great, Simultaneous singing begins
but my suffering is too great,
but my suffering is too great.

TURIDDU
Take care, Santuzza! I'll not be a slave
to your pointless jealousy. Simultaneous singing ends

[Begin Page 43]

LOLA ( offstage )
Oh gladiolus flower,
there are a thousand
beautiful angels in heaven,
but only one
is as beautiful as you.
Oh gladiolus flower, etc.
Ah! Ah! Ah! Ah! Ah!
Oh gladiolus flower... ( enters, and stops suddenly )
Oh! Turiddu, has Alfio come by?

Band 2

(a) Santuzza-Turiddu duet excerpt: "Ah! No! Turiddu, rimani, rimani ancora"..."A te la mala Pasqua, spergiuro!"

(b) Santuzza-Alfio duet excerpt: "[Turiddu mi tolse, mi tol]se l'onore"..."Uso a men[tire il labbro mio non è!]"

Emma Calvé (s), Santuzza

Emilio De Marchi (t), Turiddu

Giuseppe Campanari (b), Alfio

Metropolitan Opera Orchestra--Phillippe Flon

February 22 (matinee), 1902

[Glackens 48.]

After Lola goes into the church, Turiddu turns to follow her. Santuzza begs him to remain, but he refuses. She shouts a curse at him, and remains on stage sobbing. Following a skip in Mapleson's recording, Alfio has entered and Santuzza is telling him what has happened.

[original]
(a) Simultaneous singing begins

SANTUZZA
Ah! no! Turiddu, rimani, rimani ancora,
dunque vuoi abbandonarmi, Turiddu?

TURIDDU
Va! Pentirsi è vano dopo l'offesa! Simultaneous singing ends

SANTUZZA
Bada!

TURIDDU
Dell'ira tua non mi curo! ( He throws her down and goes into the church. )

SANTUZZA
A te la mala Pasqua, spergiuro!

SANTUZZA
(b)
[Turiddu mi tolse, mi tol]se l'onore,
Turiddu mi tolse, mi tolse l'onore,
e vostra moglie lui rapiva a me!
Turiddu mi tolse, mi tolse l'onore!

ALFIO
Se voi mentite, vo' schiantarvi il core.

SANTUZZA
Uso a men[tire il labbro mio non è!]

[translation] Simultaneous singing begins

SANTUZZA
Ah, no! Turiddu, stay with me, stay!
Would you abandon me. Turiddu?

TURIDDU
Go! Repentance is pointless after the offense! Simultaneous singing ends

SANTUZZA
Enough!

TURIDDU
Your anger doesn't bother me! ( He throws her down and goes into the church. )

SANTUZZA
I wish you a curse on Easter, betrayer!

SANTUZZA
Turiddu has taken my honor,
Turiddu has taken my honor.
and your wife has stolen him from me!
Turiddu has taken my honor!

ALFIO
If you are lying, I will tear out your heart.

SANTUZZA
My lips are not used to lying!

Band 3

Brindisi and Finale excerpts:

(a) "[nell' ebbrezza] tenera. Viva!"...to end of aria

(b) "Compar Alfio, salute!" ... "Ahimè, che mai sarà?"

Carrie Bridewell (ms), Lola

Emilio De Marchi (t), Turiddu

Giuseppe Campanari (b), Alfio

Metropolitan Opera Orchestra--Phillippe Flon

February 22 (matinee), 1902

[Slip, undated: "Drinking Cho Cavalleria." Played at the same speed as the preceding two cylinders, the "Brindisi" comes out a tone below written pitch--a possible transposition, although the written pitch is not recovered before the end of the subsequent passage (or else Mapleson changed recording speed when he stopped his machine at the end of the "Brindisi").]

In the square after mass, Turiddu, Lola, and the villagers are drinking; Mapleson's recording begins at the end of the solo part of Turiddu's drinking song, and presents the choral strain (there is a musical cut in this section). Presumably to omit the applause, Mapleson stopped his machine, missing the entrance of Alfio, who refuses the drink that Turiddu offers him.

[original]

TURIDDU

(a)
[...nell' ebbrezza] tenera.

CHORUS
Viva!

TURIDDU ( to Lola )
Ai vostri amori!

CHORUS
Viva!

LOLA
Alla fortuna vostra!

CHORUS
Viva!

TURIDDU
Beviam!

CHORUS
Viva! Beviam!
Rinnovisi la giostra!
Rinnovisi la giostra!

LOLA, TURIDDU, and CHORUS
Beviam, beviam!
Rinnovisi la giostra!

CHORUS
Viva il vino spumeggiante,
nel bicchiere scintillante,
come il riso dell'amante
mite infonde il giubilo!
Viva il vino ch'è sincero,
che allieta ogni pensiero,
e che annega l'umor nero
nell'ebbrezza tenera!
Viva il vin! viva il vin!
Beviam, beviam, beviam, beviam!
Beviam!

ALFIO
[A voi tutti salute.]

CHORUS
(b)
Compar Alfio, salute.

TURIDDU
Benvenuto! con noi dovete bere,
ecco pieno è il bicchiere.

ALFIO
Grazie, ma il vostro vino
io non l'accetto,
diverebbe veleno
entro il mio petto!

TURIDDU
A piacer vostro.

LOLA
Ahimè, che mai sarà?

[translation]

TURIDDU

...in gentle abandon.

CHORUS
Viva!

TURIDDU ( to Lola )
To your loves!

CHORUS
Viva!

LOLA
To your good fortune!

CHORUS
Viva!

TURIDDU
Let's drink!

CHORUS
Viva! Let's drink!
Let's fill another round!
Let's fill another round!

LOLA, TURIDDU, and CHORUS
Let's drink, let's drink!
Let's fill another round!

CHORUS
Hail the gushing wine,
in the sparking glasses;
like a lover's smile,
it awakens joy.
Hail the wine that's true,
that delights all thoughts,
and that banishes black moods
in gentle abandon!
Hail the wine! Hail the wine!
Let's drink, let's drink, let's drink, let's drink!
Let's drink!

ALFIO
Greetings to you all.

CHORUS
Neighbor Alfio, greetings.

TURIDDU
Welcome! You must drink with us;
here's a full glass.

ALFIO
Thank you, but your wine
I'll not accept,
it would turn to poison
in my breast!

TURIDDU
As you please.

LOLA
Alas, What will happen now?

[Begin Page 44]

     Verdi: AIDA   [Includes RealAudio Selections]      Table of Contents      Leoncavallo: PAGLIACCI   [Includes RealAudio Selections]