Cavalleria Rusticana (Timestamps) 0:00 Preludio e Siciliana (Turiddu, a sipario calato) INIZIO ATTO UNICO (7:59) La scena rappresenta una piazza in un paese della Sicilia. Nel fondo, a destra, si trova una chiesa con porta praticabile. A sinistra invece è presente l'osteria e la casa di Mamma Lucia (madre di Turiddu). E' il giorno di Pasqua. 7:59 Coro d'introduzione (Gli Aranci Olezzano) 15:48 Scena I (Santuzza e Lucia) e 21:20 Sortita (di Alfio con Coro) detta anche "Il Cavallo Scalpita" 24:03 Scena II (Santuzza e Alfio) e 24:37 Preghiera (Coro Interno alla Chiesa e Corso Esterno sulla Piazza e Organo della Chiesa) divisa in "Regina Cœli" e "Inneggiamo al Signor" 32:24 Romanza (Santuzza) detta anche "Voi lo sapete, o mamma" e Scena III (Santuzza e Lucia) 38:32 Scena IV (Santuzza e Turiddu) e 42:01 Stornello (Lola) e 45:26 Duetto I (Santuzza e Turiddu) e 51:21 Duetto II (Santuzza ed Alfio) 57:05 Intermezzo Sinfonico 1:01:21 Scena V (Lola e Turiddu), Coro e 1:04:00 Brindisi (Turiddu e Coro) 1:06:51 FINALE 1:16:45 I putted this another stamp because it's the last beautiful theme of hope that we will hear until the imminent end. Nota Finale: Tutta quest'opera è un continuo susseguirsi di temi bellissimi e che considero dei capolavori eterni della musica tardo romantica, non è solo bello l'intermezzo ma TUTTA l'opera dall'inizio alla fine ti lascia senza fiato, rimarrò per sempre grato a Mascagni per averci donato questa musica straordinaria... Grazie mille per aver pubblicato l'opera intera con lo spartito!!! THANK YOU VERY MUCH SIMON KAWASAKI
The original version of Cavelleria was never performed or published in Mascagni's lifetime. During the rehearsals, the conductor and singers demanded cuts and transposition. 247 measures were cut, mostly from the choruses. And 3 pieces were transposed : the prayer, originally in A, was lowered to G major,; Santuzza's aria was lowered from F to E; and the final section of the duet for Turridu and Santuzza was lowered from A to A flat. The original (which I think is infinitely greater than the published version ), has finally been performed and recorded by Thomas Hengelbrock with the Balthasar Neumann Orchestra and available on RU-vid.
Thanks for the great info! I remember reading briefly about some alterations and cuts to the score, apparently supervised by the conductor Mugnone who thought he knew better than Mascagni. The nerve!!! I will eagerly listen to the recording you mentioned. Thanks again!
I've been obsessed with it since my childhood, it's almost 50 years. The only opera I listen to every day, Preludio and Intermezzo even several times a day. I just adore Cavalleria, I've watched it in Milano, Livorno or Palermo live. It's absolutely brilliant. Viva Mascagni! ❤
La escuché con mi hermano en casa, por primera vez cuando yo tenía 6 años. Hoy tengo 82. M gustó desde el principio. Con su primer sueldo el la compró. Venía en un estuche de cartón y con un libreto en italiano y castellano. Después siguió con muchas mas.
È vero,che vale la pena ascoltarla perché è bellissima,ascoltavo solo l’Intermezzo di solito ,ho visto in passato. Altre Opere,ma non ricordo di aver visto questa,e’magnifica la musica,l’ascoltero più spesso.🎼👍🌈
Bravo pour la présentation de la partition musicale , un gros travail, dans une langue universelle si peu partagée ... Et qui est la seule qui met en accord le monde.
From the standpoint of melody, so much of Cavaleria Rusticana is built on the Venusberg scene of Wagner's Tannhäuser. For example, Mascagni's famous intermezzo has melodic links that are heard from the choir of sirens in the Venusberg scene, while the Easter chorus has similarities to Wagner's Pilgrim's Chorus, especially regarding orchestration. Even the libretto of Cavalleria Rusticana is strongly catholic, just as Tannhäuser's libretto is.
If the plot is so incomprehensible to you, how were you able to discern any moral(s) in the story, much less a moral as specific as "...don't fuck around or you will be stabbed."? I doubt that you have ever seen the complete "Cavalleria Rusticana" live or on film. The opera's plot/libretto is hardly incomprehensible, something made even easier by the opera being 1 act--2 scenes and being about an hour and a half.
Leitmotifs? Well' nothing wrong with them, but structurally this is actually a very old-fashioned opera with closed numbers, the only true originalities being the prelude with the siciliana and the intermezzo, intermezzi being fashionable at that time.
Thank you....sometimes I think I'm the only one who notices. The intermezzo and Easter procession is so clearly grown out of Wagner's Venusberg, the choir of Sirens, etc.
@@lizardking1979 You mean "Verismo" ? Which is literally the greatest period of italian opera and I don't think it has anything to do with Wagner. For me italian opera (arguably the finest opera) starts with Verdi's "La Traviata" and ends with Pietro Mascagni, Ruggero Leoncavallo, Umberto Giordano and Giacomo Puccini. Everything before that like Donizetti, Bellini, Rossini including a great deal of Verdi operas is ok but nothing special. It's no different from a Mozart or a Gluck opera. Verismo operas however are unique to Italy.
The chromatic circus that ends the opera really does spoil the listening experience for me. It borders on bad taste. Sweeping and emotive music otherwise.
The "chromatic circus" is the same that concludes the Santuzza-Alfio duet, where his las words are "Vendetta avrò pria che tramonti il dì" ("I'll have my revenge before the sun sets"). Since Mascagni uses leitmotifs a lot, sometimes subtly, sometimes not, it's only logical to have this music here.
@FueganTV - the "chromatic circus" in the final moments of the opera spoils your listening experience?!? You think "it borders on bad taste"? It would seem that the only case of bad taste is your own.
