"CAVALLERIA RUSTICANA"

Radio Record, Volume IV, Issue 51, 3 July 1931, Page 1

"CAVALLERIA RUSTICANA"

Mascagni's Celebrated | \ Opera to be | Broadcast :

Cast 0 Santusga (soprano) Eunice Standen Lola (soprano) Janet Stirling Lucia (contralto) Mrs. H. Maplesden Turiddu (tenor ) Ray Trewern Alfio (baritone) George Gray The Sacristan (baritone) Owen Pritchard Chorus of Sicilian Peasants:

= N Monday, July 6, the first complete opera’ to be broadcast in. New Zealand will. be presented from: 2Y.A by Signor Lucien "Cesaroni’s Operatic Company. : Speaking generally, operas are scarcely suited for microphone performance, but that chosen, "Cavalleria Rusticana," is short, melodious, © simple of plot, and should appeal to all... The scene of the opera-which: incidentally will be presented entirely in English-is laid in.a Sicilian village. The customs and emotional temperament of its Latin inhabitants may seem strange and perhaps a little overdrawn to us, but it must be remembered that they belong to a race which sprang from a different source from our own. To them, Anglo-Saxons appear rather stolid and unemotional. Unlike many suddenly successful works, "Cavalleria Rusticana" continues to hold its own as one of the most popular of operas. Nor is this hard to understand. The plot moves directly and simply to its predestined end, the music is forceful and strong, intensely dramatic in feeling, and Tich in harmony and orchestration. Best of all Mascagni manages to combine a good deal’ of straightforward melody in a score which otherwise follows the modern idea in haying not set arias and ensembles. The raw facts of the plot are so simple as to savour of. everyday police court news, but the charm of the Sicilian setting, the interplay of human nature as the various characters thread out their destiny, _ the passionate intensity of the music, are such as to lift this tragedy of low life into a vivid and heart-searching drama. _ The music of "Cavalleria Rusticana" is a happy blend of the old and the new. In its-melodiousness it adheres to the older tradition. Tunes abound, so simple in character that any person with an average ear for music can readily grasp them.. ‘There are no set arias, no elaborately-arranged ensembles halting the movement of the plot while the singers display their vocal charms. ‘The melodies occur naturally affa spontaneously, and moreover they are arrayed in all the panoply o% modern orchestration. There is none of the stiff recitative of the older day. The recitative, on the contrary, is. flexible and natural, giving a just musical presentment of the speaking voice’s inflections with an accompaniment for the orchestra which faithfully fol-

lows the: mood of the moment. Emotional crises develop, reach their climax and. pass away; or again, as in the scene preceding the famous "Intermezzo," they reach a point where the lyric outburst of melody seems natural ~4vand indeéd inevitable. . : This flowing continuity of style is essentially modern, being one of the innovations in operatic treatment for which we are indebted to the genius of Richard Wagner. Ultra-modern com-:

posers have carried the idea forward to such a degree as to practically eliminate melody in the ordinary sense of the word, but the success of: their efforts is still in doubt. © ; The opera really begins with the Orchestral Prelude, which takes the form of a fantasia on the principal airs of the work, welded together’ with splendid musicianship. During the performance, however, the voice of Turiddu is heard from the curtained stage singing "Siciliana," one of the most popular airs in the whole work. It is a love song ‘pure and simple, but in its long-drawn cadences, its darkly-coloured harmonies, is some hint of the tragedy which is the consummation of Turiddu’s love for Lola. * * * * iG is Easter Day, a festival that means as much to the Sicilian as Christmas to us. Moreover, it is. springtime, and the air is fragrant with the odour of orange blossoms, and the lark rises singing from. myrtles in full bloom. The warm beauty of the day is eloquently suggested in the opening chorus, "Gli Aranci Olezanno" ("Blossoms of Oranges’’). During its progress the curtain slowly rises, showing the people of the little village crossing the square to enter the little church opposite the inn where Lucia, mother of Turiddu, plies her trade. No sooner has the happy crowd: entered the church than Santuzza appears and calls for "Mamma Lucia." "What is it?" asks the old woman, coming from the house. "Where is Turiddu?" questions the girl. Something in her manner warns Lucia, and she evades a repeated question with, "Do not ask me. I don’t know. I want no trouble." But Santuzza pleads, asking her to be merciful. This leads to the "Dite, Mamma Lucia" ("Tell me, Mother Lucia’). Le replies that Turiddu has gone to Francofonte for wine. "No," declares Santuzza, "‘someone in the village saw him last night." The older’ woman’s suspicions are aroused, and she invites the girl to enter ; but this the unhappy Santuzza cannot do. In this little Sicilian village the moral code is strict, and she is an outcast, excommunicated for her sins. "What of my son?" questions the mother; but before Santuzza can renly the crackine

of whips and jingling of bells announces the arrival of Alfio, the carrier, who presently enters, followed by the crowd. He sings the "Il Cavallo Scalpita" (The Sturdy Steed), a vigorous description of a carrier’s career. The lively rhythm and swift changes of harmony are partticulargely exhilarating, and | this number is one of the most brilliant in the opera. Alfio has every reason to be (Concluded on page 2.)

happy, for as a public carrier he posseses much prestige and he thoroughly enjoys the life. Moreover, is he not the husband of the beautiful Lola? All his simple satisfaction bubbles. over in this number, the latter part of which is given over to his joy at returning home for Haster and the welcome that awaits him from his adored one. He has no suspicion that a few hours earli-r another man has been likening the lips of the dusky Lola to crimson berries. The chorus joins gaily in his lively music, and afterward disperses, some into the church and the rest about their business. Alfio among them. ‘The gaiety of Alfio’s song gives place to the Haster music, the "Regina Coeli" ‘(Queen of the Heavens), and the "Ineggiamo al Signore" (Let us sing before the Lord’). This Haster music is exeeptionally tith in melody and harmony. Its tranquil beauty and sanctity of feeling deeply emphasises the part religion plays in the lives of these simple pastoral people. There is splendid breadth and dignity:in its familiar tune. ' "With the departure of Alfiio and his ‘admirers Santuzza and ‘Mamma Lucia ‘are left alone again, and Santuzza pours out her sad story into the kindly éars of the sympathetic Lucia. -Before Turiddu ‘went away to serve his time in the army it appears he was in ‘love with Lola, who seemed to return ‘his love, but when his time was up -and he returned to the village he found Lola married to Alfio. To console him-

self Turiddu made violent love to Santuzza, who yielded to his ardour all too completely. Now it seems Turiddu is again paying court to Lola, who receives him with favour, and Santuzza finds herself doubly disgraced by his desertion. The story of Santuzza is set forth in the "Voi la sapete" (Well, do you Know, good Mother). This is one of the most powerful and beautiful numbers in the opera. Lucia is not wholly surprised but deeply grieved. She looks with foreboding upon the future, and does her best to console the unhappy girl who pleads for her prayers in the "Andante, O 7 oneal (Implore your God to save Me), Lucia tries to comfort her, remaining patient even when the frantic Santuzza threatens vengeance against her son. Then even Santuzza’s mood softens as she thinks of the love she has lost. Lucia leaves Santuzza to enter the church, and a moment later Turiddu himself enters. Then follows the duet "Tu qui, Santuzza?"’ (Thou here, Santuzza?), in which the two quarrel violently. : Santuzza explains that she has come to see his mother, and then confronts him with the fact that he did not go to Francofonte as he was supposed, but instead to Lola, Turiddu accuses her of spying on him and is soon beside himself with anger. Santuzza insists that he has been seen by Alfio, Lola’s husband, himself, but Turiddn

refuses to listen, taunts her with jealousy and ingratitude, bidding her to leave him. They are interrupted by the sound of a woman’s voice singing from behind the scene as -she approaches, It is the unsuspecting Lola on her way to church, expressing

her love for Turiddu in the lovely "Fior di giaggiolo" (My King of Roses). She enters and grasps the ‘situation at a glance. The two girls converse with thinly-veiled irony. The embarrassed Turiddu contributes but little. Finally Lola proceeds to church and invites her lover to follow. Santuzza claims him, however, and they continue their former quarrel. This is canried on in one of the loveliest numbers in the entire work, the "Ah, No, Turiddu. rimani" (No, Turiddu, remain). The melody is tender and pathetic, rising to a great climax as the distraught girl begs Turiddu to return to her. Violently angry, he refuses and hastens into the.church in -pursuit of Lola. Santuzza yields herself up to despair, but is aroused by the arrival of Alfio, Another dramatic scene ensues, in which Santuzza tells all she knows. At first Alfio finds it hard to believe Lola’s guilt. His anger is immediate and passionate-‘If thou are lying I will have thy heart’s blood," but in the end he is convinced. He breaks out again with sudden fury against Turiddu and Lola, and they go out. leaving the stage empty, while the beautiful "Intermezzo" is played. The calm serenity of this music and the peaceful scene upon the stage are in sharp: contrast with the highlycharged scenes of a moment ago and that which is to come, It provides a moment of relief for the which the audience is thankful and serves’ to emphasise the devout religious spirit of the Sicilian peasarts, despite their hot-blooded conduct in human affairs. This exquisite interlude with its heavenly melody at the end is douhtless the most familiar single number in the entire work and is complete in itself. Not only is the melody beautiful but the harmony is rich and the orchestral scoring with its fine econtrasts of woodwind and strings is a beautiful piece of musical tone painting. . AS the strains of the "Intermezzo" dies away the people begin to leave the church. and soon a merry crowd are assembled outside the inn of Mamma Lucia. They sing "A casa, "nn ‘casa’ (Now homeward), a lively ‘chorus which prepares the way for the Brindisi-"Viva, il vino spu meggiarte" ... This isa lively number, in striking contrast to the prevailing tragic tone of the opera. It has a most fascinating swing and is full of life and colonr. It is sung by Turiddu as if he had

= not a care in the world, though per. haps his gaiety is a trifle hysterical; for the end is already at hand. As the "Brindisi" draws to a close Alfio approaches in time to see -Lola drink in response to Turiddu’s toast. Watched with tense interest by the assembled erowd, the latter offers Alfio a glass of wine, "Ah, voi tutti salute" (Come Here, Good Friend), sings he. "To the horror of Lola, Alfio scornfully refuses. Turiddu, still in a mood of bravado, pours the wine carelessly on the ground and the peasants, realising the situation, withdraw, leaving the two rivals face to face. A challenge is quickly given and accepted, and the men arrange to meet in the garden, Now -follows an _ affecting scene, in which Turiddu bids farewell to his mother in the "Addio alla madre" (Turiddu’s farewell), and the "Mamma .quel vino e generoso" (Too much Wine, my Mother’ )-Turiddu’s tinued and the finale of the opera" ! Without explaining the details Turiddu pretends to have been drinking and declares the wine cup to have passed too frequently among his comrades, He must go away, he says, and he would bid his mother farewell. Lucia is not deceived. His distraught manner, the passionate. tenderness of his farewell, tells her more than she can say, and she watches him horrorstricken as he tears himself from her arms and rushes away, first bidding her* take care of Santuzza. There is but little more to tell. Santuzza enters and throws her arms about Lucia. People crowd about them and soon a woman comes running with the ery "Neighbour Turiddu is murdered." Several other women rush in terrified. Santuzza falls screaming and Lucia is supported by other women in a faintng condition, The curtaii falls rapidly as the crowd gathers round the unhappy pair, and all is over. ;

"The Real Q" ‘A One-act Mystery Play From 2YA, July 9. Characters: The Doctor ...... Ke:.meth Aitken The Detective ......' Hedley Aitken The Thief ...... Norman Aitken Scene: Dr. Cornish’s Office, New York.