P. Mascagni. Opera "Rural Honor"

original name- Cavalleria rusticana.

Opera in one act by Pietro Mascagni to a libretto (in Italian) by Guido Menaschi and Giovanni Targioni-Tozzetti, based on a play by Giovanni Verga, which in turn is a stage adaptation of his novel of the same name.

Characters:

SANTUZZA, young peasant woman (soprano)
TURIDDU, young soldier (tenor)
Lucia, his mother (contralto)
ALFIO, village carter (baritone)
LOLA, his wife (mezzo-soprano)

Time of action: Easter holiday in late XIX century.
Location: village in Sicily.
First performance: Rome, Costanzi Theatre, May 17, 1890.

The name "Cavalleria rusticana" is usually translated as "Country Honor". Such is the irony of fate, because there is no honor in the behavior of most of the characters in the opera. As for the short story by Giovanni Verga, it describes the behavior of the characters even more barbaric than what we encounter in Mascagni's opera.

An all-consuming passion, openly expressed with great force - these are the qualities of the opera that immediately brought her incredible success. Of course, the literary merits of the libretto are also essential. Verga's short story was considered a small literary masterpiece. In addition, E. Duse, this brilliant actress, together with other actors, performed a dramatic version of this novel on the stage with great success even before the opera was written. "Country Honor" was the first and perhaps the most significant triumph in both literature and music of the direction that came to be called verismo (verism), "the theory - to quote Webster - which, in art and literature, put the image at the forefront. everyday life, psychological experiences of the characters, attention to dark sides life of the urban and rural poor.

This small work was the first of three to win a prize at a competition announced by the publisher E. Sonzogno, and in one night it glorified no one then famous composer who was only twenty-seven years old. Even in New York, a struggle began for the right to first stage the opera. Oscar Hammerstein years before he built his big Manhattan Opera theatre, paid $3,000 just to beat his rival producer Aronson, who gave the piece a so-called "public rehearsal" on October 1, 1891. Hammerstein's performance took place that same evening. All this was less than a year and a half after the Rome premiere. But by this time, all of Italy had already heard it. In addition, it has already been in Stockholm, Madrid, Budapest, Hamburg, Prague, Buenos Aires, Moscow, Vienna, Bucharest, Philadelphia, Rio de Janeiro, Copenhagen and Chicago (in the chronological order in which these cities are named) .

For more than half a century, Mascagni lived on fame and profits from the productions of this little masterpiece. None of his other operas (and he wrote fourteen more) had a success that could even remotely compare with the success of " rural honor”, but even so, he died in 1945 in full glory and honor.

Prelude

This story takes place in a Sicilian village at the end of the 19th century on Easter Sunday, so the prelude begins with calm music, like a prayer. It soon becomes more dramatic, and in the middle a tenor's voice is heard singing behind the still drawn curtain. This is his love serenade "Siciliana". Tenor - recently returned to native village soldier. He serenades his beloved, Lola.

The curtain rises, and the viewer sees a square in one of the towns of Sicily. To the right is the church. Lucia's house is visible to the left. Bright Easter Sunday. At first the stage is empty. It's dawning. Peasants, peasant women and children pass through the stage. The doors of the church open, the crowd enters. The peasant girl Santuzza asks old Lucia about her son Turiddu - because the way he behaves Lately She doesn't like it very much. The conversation of two women is interrupted by the arrival of Alfio, an energetic young carter, who sings a cheerful song about his life, while striking with a whip (“II cavallo scalpita” - “The horse is rushing in a whirlwind”). He does not yet know that Turiddu is spending time with his lovely wife Lola. His brief conversation with Lucia, in which he casually mentions that he saw her son near his home, Alfio, instills even more suspicion in Santuzza.

The sounds of the organ are heard from the church. The choir sings offstage. All the villagers kneel, and together with Santuzza, singing a magnificent solo, they offer a prayer - Regina coeli (lat. - "Queen of Heaven"). The religious procession enters the church, followed by the villagers. Santuzza, however, delays Lucia to tell her of his sadness. In the aria “Voi lo sapete, mamma...” (“You know, mother, that even before the soldiery, Turiddu Lola wanted to call his wife”) she tells how Turiddu, before leaving for the army, promised to marry Lola, but when he returned, she was married to another, and then he confessed his love to Santuzza, but now he was again inflamed with passion for Lola. Lucia is very upset, she sympathizes with Santuzza, but cannot help her in any way. Lucia enters the church. Now, when Turiddu himself appears, Santuzza speaks directly to him. He makes a feeble apology and becomes especially annoyed when they are interrupted by the one they fought over. Lola, very nicely dressed, appears on her way to the church; she sings a coquettishly graceful love song "Fior di giaggiolo" ("Flower, flower!"). When she leaves, the quarrel between Santuzza and Turiddu plays out again with even greater force. Finally, for Turiddu, all this becomes unbearable. In a fit of annoyance, he pushes Santuzza away and she falls to the ground. Turiddu rushes after Lola to the church. Santuzza shouts a curse after him: "A te la mala Pasqua, spergiuro!" (“Die now on a bright holiday!”)

Alfio is the last to head to the church. Santuzza also stops him and tells him about his wife's infidelity. Santuzza's sincerity leaves him in no doubt that she is telling the truth. Alfio's anger is terrible: “Vendetta avro priache tramonti il ​​di” (“I will take revenge today!”), The driver swears, leaving the young peasant woman. Santuzza, now full of remorse for what she has done, rushes after him.

The stage is empty. The orchestra performs a wonderful intermezzo: it conveys the calmness of the picture of a peaceful, gentle nature. This mood creates a sharp contrast to the rapid development of deadly passions.

The Easter service is over, and the peasants fill the street in front of Turiddu's house in a noisy crowd. He invites everyone to drink with him and sings a sharply rhythmic drinking song. Alfio enters. He is terribly minded. Turiddu fills a glass for him, he wants to clink glasses with him. Alfio refuses to drink with him. Turiddu breaks a glass. Some women, having consulted among themselves, approach Lola and in an undertone persuade her to leave. Two men are facing each other. Following an old Sicilian custom, the dishonored husband and rival embrace, and Turiddu bites Alfio's right ear - a sign of a challenge to a duel. Turiddu says he will be waiting for Alfio in the garden. Now it's Turiddu's turn to feel remorse. He calls his mother, takes from her a promise that he will take care of Santuzza. He is the culprit of all misadventures and now vows to marry her if...

Full of gloomy forebodings, Turiddu retires to the outskirts, where Alfio is already waiting for him. Terrified, Santuzza is silent. Time drags on. And here's the terrible female voice breaks the oppressive silence: "Hanno ammazzato compare Turiddu!" (“They have slaughtered Turiddu now!”). Alfio wins the duel... Santuzza and Lucia faint. Women support them. Everyone is deeply shocked.

Henry W. Simon (translated by A. Maykapar)

P. Mascagni's opera Rural Honor

When there is more passion than love, and more hatred than faith... Pietro Mascagni's opera Rural Honor was created from such emotions, which formed the features and values ​​of verismo. And together with him she brought peasants, wandering comedians, the beggars and the destitute to the largest stages of the world - in contrast to the traditional opera aristocrats, historical figures or heroes of legends.

Characters		Description
Santuzza	soprano	young peasant woman
Turridou	tenor	young peasant
Lucia	contralto	Turridou's mother
Alfio	baritone	coachman
Lola	mezzo-soprano	Alfio's wife

Summary

Background. Before Turridu joined the army, he had romantic relationship with Lola. But, returning home, the young man discovered that his beloved had married Alfio. Despite the fact that the old passion still burned in him, he forgot himself in the warm arms of Santuzza, whom he promised to take as his wife. Lola, seeing that Turridu was trying to start life with another, again lured him into her networks ...

Early Easter Sunday morning in a Sicilian village, 1880 Turridou returns from a night out with Lola. Meanwhile, Santuzza comes to his house and, guessing where her fiancé actually spent the night, begs Lucia to tell the truth about it. Turridu enters, Santuzza makes him a scene of jealousy, and he drives her away. In her hearts, she finds Alfio and tells him about the relationship between Turridu and Lola. The offended husband challenges the opponent to a duel and kills him.

Photo:

Interesting Facts

• "Rural honor" was highly appreciated by such contemporaries of Mascagni as D. Verdi And P.I. Chaikovsky. Moreover, Verdi called the composer almost his successor. Only in part did he manage to justify such flattering expectations of the great maestro - among his subsequent 14 operas were the once popular "Friend Fritz" and "Iris", but now these names are hardly familiar even to fans of the genre, since they have not risen to the level of "Rural honor." And the real "heir" of traditions Italian opera, the musician who brought her to new round development, became D. Puccini.
• Mascagni is called "one opera man" or "the author of one opera." At the same time, during his lifetime he was put in a row major composers Italy. What is its phenomenon? First of all, in the fact that Mascagni, having tasted success, did not want to follow the beaten path, developing the verist direction. He was interested in decadence, expressionism, orientalism, operetta, new subjects. The publisher Giulio Ricordi, with whom the composer began to cooperate after the conflict with Sonzogno, offered him a libretto based on the short story "She-Wolf" by the same Verga. Mascagni refused and was eventually forced to look for a new publisher.
• Novella D. Verga attracted the attention of many musicians, and Mascagni was not even the first of them. In 1894, a friend of the writer Giuseppe Perrotta writes symphonic poem"Country Honor" Just a month before the triumph of Mascagni's opera, the same Theater of Costanzi hosted the premiere of the opera "Evil Easter" by composer Stanislao Gastaldon. It was a three-act work that did not impress the sophisticated audience at all. The most interesting thing is that Gastaldon also planned to participate in the Sonzogno competition, but he was bought out by D. Ricordi, who immediately ordered him an opera for Rome. In 1895, the Florentine Oreste Bimboni presented the opera Santuzza in Palermo. Genoese Domenico Monleone in 1907 painted his Rural Honor, which was shown in Amsterdam. Mascagni's lawyers demanded a ban on the performance of the understudy opera, their claims were satisfied, and Monleone shifted the music to another libretto, the opera became known as The Battle of the Falcons. Only in 1998 Monleone's work was again performed in the original version. In addition to these fundamental works, in the 1890s many parodic and comic operas on the plot of "Country Honor".
• The phenomenal success of The Rural Honor quarreled three people involved in its appearance - the author of the original source D. Verga, the publisher E. Sonzogno and P. Mascagni, who, until 1893, in court found out the ownership of the copyright to the opera. Verga eventually sued the publisher and composer record amount at 143,000 lire.
• Mascagni in 1940 took part in the audio recording of "Country Honor", organized in honor of the 50th anniversary of the premiere.
• Despite the cliche of verism assigned to Mascagni, the composer himself did not agree with him, not calling himself or his work that way.
• The role of Santuzza proved to be crucial in the career of Gemma Bellincione, her first performer. In this role, both her singing and acting talent was fully revealed, she began to trust the main parts of Puccini and Giordano, Massenet and Richard Strauss.
• Over the course of Mascagni's lifetime, Les Rural Honors was performed 14,000 times in Italy alone - that's about 21 performances every month for 55 consecutive years. Now the opera is performed on world stages more than 700 times a year.
• The song "Mascagni", dedicated to the great composer, was written to the music of Intermezzo for Andrea Bocelli.

Love and Passion by Pietro Mascagni

In the life of Mascagni himself there were plenty of passions, similar to those that so tormented his heroes. In 1888 he married Lina Carbonani, who supported him in difficult moments lack of money and obscurity. Their first child, born before the wedding, died at four months. Lina was a very practical lady, even in moments of fame and prosperity, she continued to save money. household. She was not only faithful wife, but also devoted person ready to support any undertaking of her husband. The beginning of work on "Rural Honor" coincided with the birth of the long-awaited son Domenico, and then another son and daughter were born. Mascagni was caring husband and a loving, caring father. So he remained even when another woman appeared in his life, Anna Lolli.

It happened in 1910, he was 47, she was 22... The seemingly banal affair of an aging man with a young beauty turned into a bond that was broken only by the death of the composer in 1945. For 35 years, Mascagni actually had two families, each of which knew about the existence of the other. Mascagni spent many summer seasons with Anna in small town Bagnara di Romagna. Today, there, in the house of a local priest, a small museum has been organized, which contains 5,000 unpublished letters from Mascagni to his beloved, testifying to his unfading feelings. The composer dedicated the operas Isabeau and Parisina to her.

History of creation and productions

The Milanese newspaper magnate Edoardo Sonzogno in 1888 announced another competition for one-act operas. A few years earlier, the jury of this competition different reasons ignored the first opera by D. Puccini. The unsuccessful experience of a friend did not stop the young composer Pietro Mascagni. Three years have passed since he left the Milan Conservatory with a scandal. His family was in such need that he was unable to afford even music paper. Employed as a conductor and teacher in music school in the Apulian city of Cerignola (geographically, this is the "spur" of the Italian "boot"), Mascagni unsuccessfully tried to write operas.

The composer commissioned the libretto from his friend, Giovanni Targioni-Tozetti, and the writer Guido Menaschi. It was based, without exaggeration, on the hit of its time, Giovanni Verga's play Rural Honor. She successfully went to drama theater, leading role the legendary E. Duse played in one of the productions. The music was ready in two months, but Mascagni delayed sending the notes, as he doubted the success of his composition. IN last moment the manuscript was sent to the competition by his wife, Lina, to whom we are grateful today for such a decisive act. The jury chose the winner from 73 submitted works for a long time. Rustic Honor was awarded the first prize, and its author received a two-year salary and a contract with the Sonzogno publishing house. Everything that Mascagni could only dream of before has come true!

On May 17, 1890, La Rural Honour, premiered at the Teatro Costanzi in Rome. The unconditional success made the theaters vied with each other to sign contracts for productions with the composer. In the same year, the opera crossed the borders of Italy and began its triumphal procession through the stages of Europe, and a year later it was staged in many cities in the United States. The Russian public heard the novelty also in 1891 thanks to the performance of the Italian troupe, in the next two years various private operas began to perform it. In 1894, Rural Honor was performed at the Mariinsky Theatre.

Mascagni's masterpiece opened a new direction in opera - verismo. The second and only veristic opera of equal talent was Pagliacci by R. Leoncavallo, written two years later. They often go on the same evening chronological order, through intermission from each other. IN opera world this tandem was nicknamed Cav-Pag ("Cavalleria rusticana" and "Pagliacci").

P.MASCAGNI

RURAL HONOR

Opera in one act

Libretto by G. Tarjoni-Tozzetti and G. Menashi

based on the play of the same name by G. Verga.

Free translation

YURI DIMITRIN

Saint Petersburg

1987--2001

The opera "Country Honor" (more accurately called "Country Chivalry") marked the beginning of a new direction in opera art - verismo - first staged in 1890 on the stage of the Roman theater "Constanta". She quickly conquered the stages of opera houses in Europe and America. In Russia, it was first presented in Moscow by the forces of the Italian troupe (1891). The first production on the Russian stage - Yekaterinburg, 1891. The opera was filmed (dir. Zefrelli, performers Obraztsova and Domingo).

The text of the opera's libretto for the Russian stage was created in 1987 by order of the Sverdlovsk Opera and Ballet Theatre. However, the play was staged Italian. In 2001, Dimitrin made a significant revision of the text.

Characters:

SANTUZZA - soprano

TURIDDU - tenor

MOTHER LUCIA - mezzo soprano

ALFIO - baritone

LOLA - mezzo soprano

Peasants and peasant women

The action takes place in Sicily

on easter day

At the forefront - Turidu.

Ah‚ Lola‚ you are the bad weather of my life.

Your gaze calls, intoxicates, burning the soul.

Passionate love of your secret happiness.

Like a spring gift from heaven I accept.

I know that our embrace promises me death.

Blind rumor will not forgive us for spring.

But I agree to experience the wrath of fate.

For the sake of moments of sweet sinful paradise.

The area of ​​one of the rural towns of Sicily.

In the depths of the church. A little way off is the osteria and the house of Lucia.

Easter holiday

WOMEN (behind the scenes).

Again on the grass, like tears of repentance,

The young dew lay quietly.

Flew into the sky for flocks of birds

The soul is full of light.

Easter morning song, spring gives, spring gives.

(Women appear on stage.)

MEN (behind the scenes).

The grain woke up, resurrecting to life,

And again, forgetting the vanity, discord and deprivation,

We glorify the day of Resurrection in front of the temple.

(Men appear on stage.)

Feast of Resurrected Hope.

Sounds in the revived heart of saving faith string.

The soul is full of light. Easter morning song gives spring, gives spring.	The soul is full of light. Easter morning song gives spring, gives spring.
Back on the grass‚	In the fields the sun caresses the first ear.
like tears of regret	The grain woke up, resurrecting to life.
The young dew lay quietly.
The song takes off after the flocks of birds...	And the call of love is a harbinger of the harvest.
Soul full of light	And again, forgetting the vanity, discord and deprivation,
Easter morning song gives spring, gives spring.	We praise in front of the temple resurrection day.

(The area is gradually emptying.)

SANTUZZA (entering). I'm LUCIA to you.

LUCHIA. To me? What do you say?

SANTUZZA. …Turidu is here?

LUCHIA. My God! She always needs Turidu.

SANTUZZA.

Trust me, this is important. I hesitate to tell you... but I found out...

LUCHIA. "I found out..." It's time... not to believe gossip.

SANTUZZA. …Mama Lucia‚ please tell me the truth. After all, the creator himself was honest with Magdalene. For the sake of all three of us, I must know‚.. where‚.. where is your son now‚ where is my Turido?

LUCHIA. Went for wine in the Francophonte.

SANTUZZA. No… He has been seen here tonight.

LUCHIA. Here at night? Turida?

But why would he lie to me?

(Heading towards the door of the house) Come in.

SANTUZZA.

No... I don't dare to enter your house.

After all, everyone knows: I am deprived of communion.

I don't want to embarrass you.

LUCHIA. What did Turidu do that night?

SANTUZZA (to the side).

He plunged a knife into my heart...

(Alfio appears on the square, surrounded by his friends.)

Alfio (clicking with a whip).

My bay is trotting.

My house hid behind my back. -

My scourge clicks, hey-lo!

Is it rain, heat, river, forest -

Beating hooves: tsok-tsok-tsok‚

Know, drive and sing!

And on the way back home

The bay rushes me briskly.

My scourge clicks. (2) Hey lo!

My scourge clicks. (2) Hey lo!

Another day at will -

And back to Lola.

We'd be so lucky!

The night passed, and again -

Know, drive the bay.

Here is the craft!

Here is the craft

ALFIO. My scourge clicks! (2)

FRIENDS. Here is the craft! (2)

We would all be so lucky.

ALFIO. The road leads home

And a husband at the door

A faithful wife is waiting.

Day and night will pass

Tomorrow we meet again

She and I are destined.

Tears the bridle my friend‚

And the heart: tsok-tsok-tsok!

And my scourge clicks - hey-lo! (2)

ALFIO, PARISHOLDERS.

(Alfio's friends leave for church.

Alfio approaches Lucia.)

LUCHIA. I would go to the temple.

Easter holiday, and you are yours: all jokes and laughter.

ALFIO. Better tell me, is there no wine with sourness?

LUCHIA. Calm down! Turidou followed him yesterday.

Turidu is here . (Santuzza overhears the conversation.) When I returned in the morning, I met him at the house.

LUCHIA. In the morning?!

SANTUZZA (hurriedly to Lucia). Be quiet.

ALFIO (leaving).

It would be nice to drink that‚ with sourness…

(Alfio exits. Church choir sounds. Parishioners fill the square.)

PARISHOLDERS.

Let's sing the bright day of resurrection -

The gift of the saving will of the Creator.

The day when both love and forgiveness

The resurrected Son put into our hearts

He, atoning for human sins,

Taught us to love and suffer.

Send down, O holy faith,

His grace is in our souls.

SANTUZZA

(simultaneously with parishioners).

Let's sing the bright day of resurrection.

Mercy, love and forgiveness.

Let's sing a bright day

Illuminated with love

Human hearts.

PARISHOLDERS.

Illuminated hearts.

PARISHIONERS‚ SANTUZZA

Illuminated hearts.

LUCIA, PARISHOLDERS.

He‚ atones for human sins‚

Taught us to love and suffer. (2)

Send down, O holy faith,

His grace is in our souls.

SANTUZZA‚ LUCIA.

Let's sing the bright day of resurrection. (2)

Illuminated with love all human hearts,

Who lit up our hearts with love, who lit up our hearts,

That day ... illumined our hearts.

PARISHINGERS

(simultaneously with Santuzza and Lucia.)

(Soprano)

Let's sing a bright day

Let us sing a bright day that illumined the hearts.

Let's sing the bright day of resurrection (2)

Bright day of resurrection‚

(S.1) illumined hearts.

(S.2.) ..our hearts.

Let's sing a bright day, a day that illumines the hearts!

(Violas)

Let's sing a bright day‚ (2) a bright day‚

Let's sing a bright day‚ (2) bright, bright day,

Who lit up our hearts.

(Tenora 1)

Let's have a bright day. (4)

Let's sing the bright day of resurrection‚ (2)

Our bright day of resurrection, illuminating the hearts,

Let's sing the resurrection, let's sing the bright day

A day that lit up the hearts.

(Tenora 2)

Let's sing, let's sing a bright day.

Let's have a bright day.

Let's sing, let's sing of a bright, bright day

A day that lit up the hearts.

(bass)

Let us sing a bright day, (2) illuminating hearts.

Let's sing the resurrection, bright day.

Oh, let us sing the day of resurrection.

Let's sing, let's sing of the bright day, the day that lit up the hearts.

SANTUZZA, LUCIA, PARISHOLDERS

(People go to church)

Lucia (Santuzza). Why did you give me a sign to keep quiet?

SANTUZZA.

Mom Lucia remember how, going to the soldiers,

to his beautiful Lola he swore his love to Turidu.

And Lola swore to him to be faithful ... and wait - but she got married.

He was smitten with change...

But two years flew by - we found each other.

And he - I swear to you by love - he was happy.

It seemed to me that our love is forever.

But fortune is merciless. Lola was jealous...

And again Lola crept in... crept into Turidu's heart again.

The sin of uncrowned passion has dishonored my honor.

Lola and Turidu are happy! This is my retribution for sin.

Oh god right! I will find out about this on the bright day of resurrection ...

SANTUZZA. Payment for my sin .. Turido with her.

Go to church, I must stay. Waiting for Turida.

I want to last time talk to him‚

The last time his eyes see.

Lucia (leaving for church). Save our souls, holy virgin.

(Turidu appears in the square.

TURIDDU. Are you here‚ Santuzza?

SANTUZZA. Yes‚ here‚ as you can see.

TURIDDU. Decided to go to the liturgy?

SANTUZZA. Oh no. I'm waiting for you here.

TURIDDU. Chose the time.

SANTUZZA. Anyway, answer me...

TURIDDU. Now? …And here?

SANTUZZA. Where were you in the morning?

TURIDDU. The question is ridiculous. In the Francophon.

SANTUZZA. No, this is a lie.

Don't you dare believe me? We have nothing to argue about.

SANTUZZA.

We won't argue... But you still spent that night here.

You were seen in the morning at one o'clock when you left Lola's bedroom.

TURIDDU. …Who …viewed me? You?

SANTUZZA.

No… No‚ Turidou.

You, returning in the morning, I saw Alf (and) o at his house

Do you pay me for love with this lie? You play with death!

SANTUZZA. Me?.. Shut up‚ Turiddu.

TURIDDU. Your language will kill us all.

Your blind jealousy clouded the mind.

Do not invite trouble.

SANTUZZA. …Do you love her?

TURIDDU. …No.

SANTUZZA. Tell me do you love her?

TURIDDU. Enough. I said.

SANTUZZA. You love, you love. It's useless to lie.

TURIDDU. Enough!

SANTUZZA.

Lola's spell has stolen you from me.

Listen, Santuzza. I do not wish

listen to the madness of jealousy stupid

SANTUZZA.

Laugh, trample, insult my soul.

But how can Turiddu forgive treason with a burned heart?

Know that I will not endure it any longer.

You are to blame for our breakup.

SANTUZZA.

Hit, destroy, deal with love.

The heart forgives the pain of humiliation.

But how‚ tell me‚ forgive treason?

Which‚ tell me‚ want retribution?

Blinded your mind‚ and - here is the retribution!

SCENE 7

(Lola appears on the square.)

LOLA‚ The world is so wonderful.

Soul full of happiness

and longs for songs‚ and longs for songs.

Roses bloom in Lola's heart.

Soul full of happiness

and longs for songs.

The world is so wonderful!

Turidu, have you met your husband?

No. We missed each other.

What a pity.

Apparently, he went to give oats to the horse.

He loves her so. (With irony.)

Why don't you take Santuzza to church

TURIDDU. We lingered a little.

SANTUZZA.

They talked about the Creator‚ about the sins that he punishes.

LOLA. ...Let's hasten to the liturgy.

SANTUZZA.

For what? It is for those who do not torment their conscience with lies.

LOLA. I don't remember such grave sins.

SANTUZZA (with irony).

Yes‚ everyone knows: you are sinless‚ Lola.

(Lola walks towards the church.)

TURIDDU. Where are you going? I'm following ... We don't need to wait anymore.

LOLA (mockingly). No, you stay.

SANTUZZA (Turidu). Be patient my friend. Two or three more words.

LOLA. May heaven keep you on the day of resurrection . (Exits.)

TURIDDU. What‚ Santuzza… Are you happy now?

SANTUZZA. Catch up with her... Run after her!

TURIDDU. All. End. (Wants to go to church.)

SANTUZZA. (blocking the road). No. You won't leave.

TURIDDU. All!!

SANTUZZA. You can't burn your heart.

TURIDDU. Away!

SANTUZZA. Turidu! Turidu!

TURIDDU. Away!

SANTUZZA. …Are you leaving me?

SANTUZZA, TOURIDDO.
(Santuzza)	(Turiddu)
No, I do not believe that the fiery heart of Turiddu Shameful passion has become a toy.
	Jealousy pierces the soul,
No, I don't believe that Santuzza
Became the fun of black envy.
	You poison everything with the poison of madness
No‚ I don't believe that both of us became enemies‚
That a soulless doll is the cause of contention.	There is an evil poison of discord in you.
Everything that was happiness has become shame.
	We can't live in the past. Everything, everything burned down.
Remember. Turiddu…
Didn't we love each other?	What was love has become enmity.
You were happy... happy with me.
No I do not believe. It's gone and love is dead?	Everything‚ Santuzza.
No! Turiddu!
Everything that was between us
Can you forget forever?	Everything, everything, that was between us
	will never return!
	The coals turned to ash in the ashes.
	Away! Away!
No! Your Santuzza did not deserve this reprisal.
	Everything, everything burned down!
Death does not punish love.
	In vain do not throw me words useless.
For heaven's sake, stay.
Give me hope	All. I'm leaving forever.
You are merciless! Leaving me...	Not on our way.
Don't leave like that... Give me hope.	You won't stop! Away! End.
Oh‚ know‚ Turidu‚ the heart will not bear reprisals.	There is nothing more for us to talk about.
And love never forgives offenses.	God forbid I never remember you.
remember Farewell... Farewell Turiddu. Damn you!*	Your threat is not terrible to me. (Pushes Santuzza away and runs into church.)

(Alfio appears in the square.)

SANTUZZA.

He! This sign is sent to me by Providence itself.

ALFIO. Didn't make it to the liturgy?

SANTUZZA.

Yes, you are late. Without you, Turidou... is having fun with Lola.

ALFIO. What did you say?

Created in 1890 based on the short story by J. Verga “ Rural Honor [d]". The opera premiered on 17 May 1890 at the Teatro Costanzi in Rome. Opera is one of the most famous works verismo and is often performed with another famous opera of this direction - The Pagliacci by Ruggiero Leoncavallo.

History of creation

Rural Honor was written by Mascagni for a competition of one-act operas announced in Milan in 1888 by the publisher Eduardo Sanzogno. Beginners can participate Italian composers whose works have never been staged before. The three winning operas were to be staged in Rome at the expense of the organizer of the competition.

Having learned about the competition rather late, Mascagni turned to his friend, the poet Giovanni Targioni-Tozetti, for help, who decided to borrow the plot of the libretto from the novel by Giovanni Verga, published in 1889 and by that time already successfully staged (Eleonora Duse played the main role in the play ). Guido Menashi also participated in the revision of the plot for the opera. At first, the libretto was composed in two acts, but later it was shortened, as required by the conditions of the competition. However, the opera is still divided into two parts by a symphonic intermezzo - one of its most popular fragments.

Rural Honor was entered for the competition on the last day and became one of its 73 participants (among others, another opera based on the same Verga novel was entered for the competition - Evil Easter! Stanislao Gastaldona - but it was filmed by the author himself ). In March 1890, the decision of the jury was announced, which announced the winners of Niccola Spinelli's Labilia, Vincenzo Ferroni's Rudello and Mascagni's opera.

Production history

For the first time, "Country Honor" was presented to the public in Rome on May 17, 1890 and had big success. In the same year, the premieres of the opera are held in a number of cities in Italy and in Berlin.

The first production in the UK took place on October 19, 1891 (Shaftesbury Theatre, London), and on May 16, 1892 "Country Honor" was presented at Covent Garden

In the US, the opera was first staged in 1891 in Philadelphia (September 9), and then almost immediately in Chicago (September 30, directed by Minnie Hauck) and New York (October 1). At the Metropolitan Opera, Rural Honor ran for more than 650 performances, the first of which took place on December 30, 1891.

Productions in Russia

The first production in Russia was performed in 1891 in Moscow (by the Italian troupe) and Yekaterinburg (by the Musical Circle). On the professional stage, "Rural Honor" appeared in 1892-1893 in Kazan (V. Petrovsky's entreprise), and in Moscow (Shelaputin's Theatre).

On January 18, 1894, the opera was presented to the public at the Mariinsky Theater (parts were performed by Medea and Nikolai Figner, M. Slavina, A. Chernova).

P. I. Tchaikovsky was a great admirer of the opera.

Since April 20, 2001, Rural Honor has been going on at the Theater New Opera". On January 25, 2008, the Mikhailovsky Theater in St. Petersburg premiered the opera directed by Liliana Cavani.

Characters

The consignment	Voice	premiere performer, May 17, 1890 Conductor: Leopoldo Mugnone
Santuzza, the peasant girl	soprano	Gemma Bellinchoni
Turiddu, a country boy, recently returned from the army	tenor	Roberto Stagno
Alfio, the country driver	baritone	Guadenzio Salassa
Lola, Alfio's wife	mezzo-soprano	Annette Guli
Lucia, mother of Turiddu	contralto	Federica Casali
Peasants and peasant women

The asteroid (463) Lola, discovered in 1900, is named after the opera character Lola.

In The Godfather 3, Michael Corleone's son, Anthony, sings in this particular opera.

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An excerpt characterizing Rural Honor

Rostov was so awkward and unpleasant with Boris that when Boris looked in after dinner, he pretended to be asleep and the next day, early in the morning, trying not to see him, left the house. In a tailcoat and a round hat, Nikolai wandered around the city, looking at the French and their uniforms, looking at the streets and houses where the Russian and french emperors. On the square, he saw tables being set up and preparations for dinner; on the streets he saw draperies thrown over with banners of Russian and French colors and huge monograms A. and N. There were also banners and monograms in the windows of the houses.
“Boris does not want to help me, and I do not want to contact him. This matter is settled, thought Nikolai, everything is over between us, but I will not leave here without doing everything I can for Denisov and, most importantly, without handing over the letter to the sovereign. Sovereign?! ​​... He is here! thought Rostov, involuntarily going back to the house occupied by Alexander.
Riding horses stood at this house and a retinue gathered, apparently preparing for the departure of the sovereign.
“I can see him at any moment,” thought Rostov. If only I could hand him the letter directly and tell him everything, would I really be arrested for wearing a tailcoat? Can't be! He would understand which side justice is on. He understands everything, knows everything. Who can be more just and generous than him? Well, if I were arrested for being here, what's the trouble? he thought, looking at the officer going up to the house occupied by the sovereign. “After all, they are rising. - E! it's all nonsense. I’ll go and submit a letter to the sovereign myself: so much the worse for Drubetskoy, who brought me to this. And suddenly, with a decisiveness that he himself did not expect from himself, Rostov, feeling the letter in his pocket, went straight to the house occupied by the sovereign.
“No, now I won’t miss the opportunity, as after Austerlitz,” he thought, expecting every second to meet the sovereign and feeling a rush of blood to his heart at this thought. I will fall at my feet and beg him. He will raise, listen and thank me again.” “I am happy when I can do good, but correcting injustice is the greatest happiness,” Rostov imagined the words that the sovereign would say to him. And he walked past those who were looking at him curiously, on the porch of the house occupied by the sovereign.
From the porch a wide staircase led straight up; to the right was a closed door. Downstairs under the stairs was a door to the lower floor.
- Who do you want? someone asked.
“Submit a letter, a request to His Majesty,” said Nikolai with a trembling voice.
- Request - to the duty officer, please come here (he was pointed to the door below). They just won't accept it.
Hearing this indifferent voice, Rostov was frightened of what he was doing; the idea of ​​meeting the sovereign at any moment was so seductive and therefore so terrible for him that he was ready to run, but the chamber fourier, who met him, opened the door to the duty room for him and Rostov entered.
Low fat man about 30 years old, in white pantaloons, over the knee boots and in one batiste shirt, which was just put on, was standing in this room; the valet was fastening beautiful new straps embroidered with silk on his back, which for some reason Rostov noticed. This man was talking to someone in the other room.
- Bien faite et la beaute du diable, [The beauty of youth is well built,] - this man said, and when he saw Rostov, he stopped talking and frowned.
– What do you want? Request?…
- Qu "est ce que c" est? [What is this?] someone asked from the other room.
- Encore un petitionnaire, [Another petitioner,] - answered the man in the harness.
Tell him what's next. It's out now, you have to go.
- After the day after tomorrow. Late…
Rostov turned and wanted to go out, but the man in the harness stopped him.
- From whom? Who are you?
“From Major Denisov,” answered Rostov.
- Who are you? Officer?
- Lieutenant, Count Rostov.
- What courage! Submit on command. And you yourself go, go ... - And he began to put on the uniform given by the valet.
Rostov went out again into the passage and noticed that on the porch there were already many officers and generals in full dress uniform, past whom he had to pass.
Cursing his courage, dying at the thought that at any moment he could meet the sovereign and be disgraced and sent under arrest in his presence, fully understanding the indecency of his act and repenting of it, Rostov, lowering his eyes, made his way out of the house, surrounded by a crowd of brilliant retinue when a familiar voice called out to him and a hand stopped him.
- You, father, what are you doing here in a tailcoat? asked his bass voice.
He was a cavalry general, who in this campaign earned the sovereign's special favor, the former head of the division in which Rostov served.
Rostov, frightened, began to make excuses, but seeing the good-naturedly joking face of the general, going to the side, in an excited voice handed over the whole matter to him, asking him to intercede for known to the general Denisov. The general, having listened to Rostov, shook his head seriously.
- It's a pity, a pity for the young man; give me a letter.
As soon as Rostov had time to hand over the letter and tell the whole story of Denisov, quick steps with spurs pounded from the stairs and the general, moving away from him, moved to the porch. The gentlemen of the sovereign's retinue ran down the stairs and went to the horses. The landlord Ene, the same one who was in Austerlitz, brought the sovereign's horse, and on the stairs there was a slight creak of steps, which Rostov now recognized. Forgetting the danger of being recognized, Rostov moved with several curious residents to the very porch and again, after two years, he saw the same features he adored, the same face, the same look, the same gait, the same combination of greatness and meekness ... And a feeling of delight and love for the sovereign with the same strength resurrected in the soul of Rostov. The sovereign in the Preobrazhensky uniform, in white leggings and high boots, with a star that Rostov did not know (it was legion d "honneur) [star of the Legion of Honor] went out onto the porch, holding his hat under his arm and putting on a glove. He stopped, looking around and that's all illuminating his surroundings with his gaze. He said a few words to some of the generals. He also recognized the former division chief Rostov, smiled at him and called him to him.

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