Rural honor of Mascagni libretto. P

P.MASCAGNI

RURAL HONOR

Opera in one act

Libretto by G. Tardgioni-Tozzetti and G. Menashi

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

Free translation

YURIY DIMITRINA

Saint Petersburg

1987--2001

The opera "Rural Honor" (more accurately called "Rural Chivalry") marked the beginning of a new direction in the art of opera - verismo - and was first staged in 1890 on the stage of the Roman Theater "Constanza". She quickly conquered the stages of opera houses in Europe and America. In Russia it was first presented in Moscow by an Italian troupe (1891). The first production on the Russian stage was Yekaterinburg, 1891. The opera was filmed (dir. Zeffrelli, 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 Theater. However, the performance was staged on 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 is Turida.

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

Your look calls, intoxicates, burns your soul.

The ardor of your love is secret happiness.

Like a spring gift from heaven I accept.

I know that our embrace promises me death.

Blind rumor will not forgive us in the spring.

But I agree to experience the wrath of fate.

For the sake of sweet moments of sinful paradise.

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

There is a church in the background. At a distance is the osteria and Lucia's house.

Easter holiday

WOMEN (behind the stage).

Back on the grass, like tears of repentance

The young dew lay quietly.

They flew into the sky following flocks of birds

The soul is full of light.

The song of Easter morning, given by spring, given by spring.

(Women appear on stage.)

MEN (behind the stage).

The grain woke up, resurrected 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.)

The holiday of resurrected hope.

A string sounds in the revived heart of saving faith.

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

(The square is gradually emptying.)

SANTUZZA (entering). I come to you LUCIA.

LUCIA. To me? What do you say?

SANTUZZA. ...Turidoo here?

LUCIA. My God! She always needs Turida.

SANTUZZA.

Believe me, this is important. I don't dare tell you... but I found out...

LUCIA. “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?

LUCIA. Went for wine in Francofonte.

SANTUZZA. No... He was seen here this night.

LUCIA. Here at night? Turida?

But why would he lie to me?

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

SANTUZZA.

No... I don’t dare enter your house.

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

I don't want to disgrace you.

LUCIA. What did Turida do that night?

SANTUZZA (to the side).

He stabbed a knife into my heart...

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

Alfio (cracking the whip).

My bay is trotting.

My house disappeared behind me. –

My whip snaps, hey-lo!

Rain, heat, river, forest -

Hooves beat: clop-clop-clop,

Know, drive and sing!

And on the way back home

The bay races me briskly.

My whip snaps. (2) Hey-lo!

My whip snaps. (2) Hey-lo!

Another day in freedom -

And back to Lola.

We wish we were so lucky!

The night passed and again -

Know, drive the bay.

What a craft!

This is the craft

ALFIO. My whip is cracking! (2)

FRIENDS. What a craft! (2)

We would all be so lucky.

ALFIO. The road leads home

And my husband at the doorstep

A faithful wife is waiting.

Day and evening will pass

And tomorrow we will meet again

We are destined to be with her.

My friend is tearing the bridle

And the heart: tsk-tsk-tsk!

And my whip cracks - hey-lo! (2)

ALFIO, PARISHISTS.

(Alfio’s friends go to church.

Alfio approaches Lucia.)

LUCIA. I would go to the temple.

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

ALFIO. Better yet, tell me, is there any wine with sourness?

LUCIA. Quiet! Turidu went to pick him up yesterday.

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

LUCIA. In the morning?!

SANTUZZA (hurriedly to Lucia). Keep quiet.

ALFIO (leaving).

It would be nice to drink that one with sourness...

(Alfio leaves. The church choir sounds. Parishioners fill the square.)

PARISHERS.

Let's sing about the bright day of resurrection -

Gift of the Creator's saving will.

The day when both love and forgiveness

The risen Son has placed in 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

(at the same time as the parishioners).

Let's sing about the bright day of resurrection.

Mercy, love and forgiveness.

Let's celebrate the bright day

Illuminated with love

Human hearts.

PARISHERS.

Illuminated hearts.

PARISHERS‚ SANTUZZA

Illuminated hearts.

LUCIA, PARISHERS.

He, atoning for human sins,

Taught us to love and suffer. (2)

Send down, O holy faith,

His grace is in our souls.

SANTUZZA‚ LUCIA.

Let us sing of the bright day of resurrection.(2)

Illuminated all human hearts with love,

Who has illuminated our hearts with love, who has illuminated our hearts,

That day... which illuminated our hearts.

PARISHERS

(simultaneously with Santuzza and Lucia.)

(Soprano)

Let's celebrate the bright day

Let us sing of the bright day that illuminated our hearts.

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

Bright day of resurrection‚

(S.1) illuminated hearts.

(S.2.) ..our hearts.

Let us sing of the bright day, the day that illuminated our hearts!

(Altos)

Let's sing about the bright day‚ (2) bright day‚

Let's sing about the bright day, (2) bright, bright day,

Who illuminated our hearts.

(Tenor 1)

Let's celebrate the bright day. (4)

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

Our bright day of resurrection, illuminating our hearts,

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

A day that illuminated hearts.

(Tenor 2)

Let's sing, let's sing about the bright day.

Let's celebrate the bright day.

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

A day that illuminated hearts.

(Bass)

Let us sing of the bright day (2) that illuminated our hearts.

Let's sing about the resurrection, a bright day.

Oh, let's sing about the day of resurrection.

Let us sing, let us sing the bright day, the day that illuminated our hearts.

SANTUZZA, LUCIA, PARISHERS

(People go to church)

LUCIA (Santuzze). Why did you give a sign for me to be silent?

SANTUZZA.

Mama LUCIA remember how when you became a soldier

Turid swore his love to his beautiful Lola.

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

He was struck by betrayal...

But two years flew by - he and I found each other.

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

It seemed to me that our love would last forever.

But fortune is merciless. Lola was overcome with envy...

And Lola crept again,... again crept into Turidu’s heart.

The sin of uncrowned passion has disgraced my honor.

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

Oh my goodness! I will find out about this on the bright day of resurrection...

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

Go to church, I must stay. I'll wait for Turida.

I want to last time talk to him

For the last time my eyes will see him.

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. Have you decided to go to the liturgy?

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

TURIDDU. I chose the time.

SANTUZZA. Anyway, answer me...

TURIDDU. Now? ...And here?

SANTUZZA. Where were you this morning?

TURIDDU. The question is ridiculous. In Francofont.

SANTUZZA. No, that's a lie.

Dare you not believe me? We have nothing to argue about.

SANTUZZA.

We won’t argue... But you still spent this night here.

You were spotted this morning at one o'clock when you left Lola's bedroom.

TURIDDU. ...Who ...seen me? You?

SANTUZZA.

No... No‚ Turidu.

When he returned in the morning, Alf(o)o saw you at his house

Are you paying me for love with this lie? You play with death!

SANTUZZA. Me?.. Shut up, Turiddu.

TURIDDU. Your tongue will destroy us all.

Your blind jealousy has clouded your reason.

Don't cause trouble.

SANTUZZA. ...Do you love her?

TURIDDU. …No.

SANTUZZA. Tell me, do you love her?

TURIDDU. Enough. I said.

SANTUZZA. You love, you love. There is no use in lying.

TURIDDU. Enough!

SANTUZZA.

Lola's charms stole you from me.

Listen, Santuzza. I don't wish

listen to the madness of stupid jealousy

SANTUZZA.

Laugh, trample, insult my soul.

But how can Turiddu, with a burned heart, forgive betrayal?

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 tell me, how can I forgive betrayal?

What‚ tell me‚ want retribution?

Your mind has gone blind, and - this is the payback!

SCENE No. 7

(Lola appears in the square.)

LOLA‚ The world is so wonderful.

The soul is full of happiness

and thirsts for songs, and thirsts for songs.

Roses are blooming in Lola's heart.

The soul is full of happiness

and longs for songs.

The world is so wonderful!

Turida, have you met your husband?

No. We missed him.

What a pity.

Apparently he went to give the horse some oats.

He loves her so much. (With irony.)

Why don’t you take Santuzza to church?

TURIDDU. We hesitated a bit.

SANTUZZA.

They talked about the creator, about the sins that he punishes.

LOLA. ...Let us 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 heads towards the church.)

TURIDDU. Where are you going? I'll follow... We don't need to wait any longer.

LOLA (mockingly). No, you stay.

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

LOLA. May heaven protect you on the day of resurrection . (Leaves.)

TURIDDU. What‚ Santuzza…Are you happy now?

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

TURIDDU. All. End. (He 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‚ TURIDDU.
(Santuzza)	(Turiddu)
No, I don't believe that Turiddu's ardent heart Shameful passion has become a toy.
	Jealousy stings into the soul,
No, I don't believe that Santuzza
Became a game of black envy.
	You poison everything with the poison of madness
No, I don’t believe that we both became enemies.
That a soulless doll is the cause of discord.	Within you is the evil poison of discord.
Everything that was happiness has become a shame.
	We can't live in the past. Everything, everything burned down.
Remember. Turiddu...
Didn't we love each other?	It was love - it became enmity.
You were happy‚.. happy with me.
No, I don't believe it. Is it all over and love is dead?	That's it, Santuzza.
No! Turiddu!
Everything that happened between us
Can you forget forever?!	Everything, everything that happened between us
	will never return!
	The coals became ash on the ashes.
	Away! Away!
No! Your Santuzza did not deserve this punishment.
	Everything, everything burned!
Love is not punishable by death.
	Don't throw useless words at me.
For God's sake, stay.
Give me hope.	All. I'm leaving forever.
You are merciless! You are leaving me...	Not on our way.
Don't leave like that... Give me hope.	You won't stop! Away! End.
Oh, know that Turida’s heart cannot bear reprisal.	There is nothing more for us to talk about.
And love never forgives insults.	God forbid I never remember you.
Will you remember Farewell... Farewell to Turiddu. Damn you!*	Your threat is not scary 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're late. Without you, Turidu... is having fun with Lola.

ALFIO. What did you say?

The premiere took place in Rome on May 17, 1890.
The plot is based on the novella of the same name by the Italian realist writer Giovanni Verga. The action takes place in late XIX century in a Sicilian village. A gentle and calm foreplay becomes more and more dramatic. Viewers hear the voice of a soldier singing a serenade in honor of his beloved.
The curtain rises and the viewer sees central square. People go to church for a festive prayer service in honor of Easter. Young woman Santuzza asks the old woman Lucia O Turiddu, her son. The conversation is interrupted by an energetic cab driver Alfio who sings his song. He has no idea what Turiddu spending time with his lovely wife Lola. Alfio speaks Lucia that he saw her son near his home. Santuzza increasingly suspects something is wrong.
The religious procession begins. The peasants sing along church choir to the sounds of an organ. Santuzza stops Lucia to tell her your fears. She's afraid for Turiddu. After all, even before the service he was in love with Lola and wanted to marry her. But when he returned, she found herself married to someone else. Then he suggested Santuzze to become his bride, but, as it seems to her, he was again inflamed with passion for Lole. Lucia very upset about my son. She sympathizes with the young girl, but is unable to help. He approaches the church himself Turiddu. He brings Santuzze their vague apologies for being late, but they quarrel again. Interferes in their conversation Lola: She sings a love song and looks very inspired. Turiddu unable to cope with his feelings, he rudely pushes away Santuzza and runs after Lola. Santuzza falls to the ground and sends curses after his offender. Last to enter the church Alfio. Santuzza angrily tells him about her suspicions. Alfio furious and going to take revenge. The girl understands that a tragedy could happen and, full of remorse, rushes after her jealous husband Lola.

The procession had just ended. All the villagers rush to the house of the merry Turiddu to start the festivities. Appears Alfio. Turiddu offers him a glass, but he refuses. Then the young soldier breaks the cup into pieces. Women sense something is wrong, persuading Lola leave. Two men are about to duel. Turiddu tormented by conscience because Santuzzi. He makes his mother promise that she will take care of the girl. And if he returns alive, he will immediately marry her. Turiddu goes to Alfio. The silence is painful... A terrible woman’s scream breaks the silence: “They have stabbed Turidda to death!” Santuzza and Lucia fall unconscious. The opera ends with general silence.

History of creation. The reason for writing the opera was a competition in 1888 from the Sonzoño publishing house. The works that took first, second and third places had to be staged at the expense of the organizer of the competition for young composers. As soon as Pietro Mascagni learned about the competition, he immediately put aside all his affairs and began working on a new work, although at that moment he was working on an opera “ Ratcliffe" Plot « Country honor» has long attracted the attention of the composer. Theater productions Based on the novella, they enjoyed great success at that time. The actions develop so quickly that the viewer's attention is simply riveted to what is happening on stage. The events of the play unfold literally in one morning, which undoubtedly attracted Pietro Mascagni even more. The libretto was written by the composer's friend, Giovanni Targioni-Tozetti, with the participation of Guido Menasci. Originally a two-act play, it was shortened to one act. Work on the opera took two months and was completed on time. As a result, among the seventy-three operas participating in the competition, it was "Rural Honor" received first place and was recognized as the best creation of the composer. For more than 50 years, Mascagni lived on the income from productions of this elegant masterpiece. None of the subsequent operas had such success. The premiere of the opera was marked by stunning delight from the public. Opera "Rural Honor" is still very popular today.

Fun facts:

• Many theaters around the world play "Rural Honor" by Pietro Mascagni and Gioachino Rossini's Pagliacci on the same evening due to their incredible similarities.
• Italian title of the opera "Cavalleria rusticana" usually translated as "Country Honor". There is an incredible irony in this, because in fact, storyline There is not the slightest honor in the behavior of the main characters!
• The premiere of "Rural Honor" in "" took place on December 30, 1891. The work went through more than 650 performances!
• Big fan opera "Rural Honor" was Pyotr Ilyich Tchaikovsky.
• In honor main character Lola's opera was named after an asteroid discovered in 1900.
• In the famous film " Godfather 3" Anthony Corleone sings the part in "Rural Honour".
• In 1982, Italian director Franco Zeffirelli made a film of the same name.

Melodrama in one act by Pietro Mascagni; libretto by G. Tardgioni-Tozzetti and G. Menashi based on the short story of the same name by G. Verga.
First production: Rome, Teatro Costanzi, May 17, 1890.

Characters: Santuzza (soprano), Lola (mezzo-soprano), Turrida (tenor), Alfio (baritone), Lucia (contralto), peasants and peasant women.

The action takes place in the square of one of the villages of Sicily at the end of the 19th century.

Behind the stage, the voice of Turiddu is heard singing Lola Siciliana. People enter the church: today is Easter. The choir glorifies nature and love (“Gli aranci olezzano”; “The fruits on the trees show off lushly”). Santuzza enters the tavern of Lucia, Turiddu's mother, to find out something about her lover, who lately avoids her. The driver Alfio, Lola’s husband (“Il cavallo scalpita”; “The horses are flying madly”) appears; he casually mentions that he saw Turidda in the morning near his house. I can hear holiday choir(“Inneggiamo al Signore risorto”; “Sing the song of triumph”).

Santuzza confesses his sadness to Lucia: Turiddu was Lola’s fiancé before serving in the army, but she did not wait for him and married Alfio. Turiddu seemed to have forgotten his youthful passion, having fallen in love with Santuzza, but now Lola again attracts him to her (“Voi lo sapete, o mamma”; “Going into the distance as a soldier”). Left alone in the square with Turiddu, Santuzza accuses him of infidelity. Lola passes by, defiantly singing a song (“Fior di giaggialo”; “Flower of mirror waters”). Turiddu, in a rage pushing aside Santuzza, who curses him, enters the church. Santuzza tells Alfio everything. He becomes furious and decides to take revenge (“Ad essi non perdono”; “They have no forgiveness”).

The action is interrupted by an interlude. Turiddu then invites everyone to have a drink (song with chorus "Viva il vino spumeggiante"; "Hello, gold of the glass") and praises Lola's beauty. Alfio contemptuously rejects his invitation to join the feast. Rivals, by old custom, hug, challenging each other to a duel, while Turiddu bites Alfio's ear. Feeling sorry for Santuzza, Turiddu asks her mother to take care of her and leaves. Some time later, women are heard screaming: “Turiddu has been killed.”

G. Marchesi (translated by E. Greceanii)

RURAL HONOR (Cavalleria rusticana) - opera by P. Mascagni in 1 act, libretto by G. Tardgioni-Tozetti and G. Menashi based on the short story and play of the same name by G. Verga. Premiere: Rome, Teatro Constanzi, May 17, 1890 (G. Bellincioni - Santuzza).

The short story by G. Verga, which was the basis for the libretto, was remade by him into a drama for E. Duse. Mascagni's opera received a prize at a competition organized by the Italian publisher E. Sonzogno (1889). Its established Russian name does not quite accurately convey the meaning of the Italian title, which rather means “Rural Nobility” or “Chivalry.”

The action takes place in a Sicilian village. The young peasant woman Santuzza, seduced and abandoned by Turiddu, tells the carter Alfio that his wife Lola is Turiddu's mistress. The jealous Alfio insults Turidda by biting him on the ear, which, according to Sicilian custom, means a challenge to death. Rivals fight with knives. Turiddu is killed in the duel.

Mascagni's opera is one of the most striking examples of verismo in music. The action develops rapidly and concisely, involving characters unusual for old Italian opera - ordinary people, village residents.

The drama of feelings is expressed by the composer truthfully and powerfully. Combination of naturalistic and everyday paintings peasant life with music that has absorbed the traditions of the old Italian school, created a peculiar effect. Mascagni used Sicilian folklore to convey the flavor of the environment. The whole drama unfolds against the backdrop of a brightly painted picture rural life. The symphonic intermezzo, separating the finale from the preceding action, creates a time perspective. The drama of the music, its melodiousness, and the freshness of its colors determined life destiny operas. For the first time in Russia it was shown in 1891 in Moscow by an Italian troupe and almost immediately on the Russian stage in Yekaterinburg Music circle(conductor G. Svechin). On the professional Russian stage, “Rural Honor” was first performed in the 1892/93 season in Kazan by V. Petrovsky’s repertoire, and then staged in 1892 at the Moscow Shelaputin Theater; On January 18, 1894, the premiere took place at the Mariinsky Theater (with the participation of Medea and Nikolai Figner, M. Slavina and A. Chernov), and on September 21, 1903 - at the Moscow New Theater. Last production in Bolshoi Theater dates back to 1985. “Honor Rusticana”, like “Pagliacci” by Leoncavallo, does not leave the world stage; its main roles were performed by major artists - E. Caruso, B. Gigli, G. di Stefano, F. Corelli, G. Anselmi, R. Panerai, G. Simionato, Z. Sotkilava, et al.

In 1982, the opera was filmed (directed by F. Zeffirelli; P. Domingo - Turiddu, E. Obraztsova - Santuzza).

Mascagni. "Rural honor". Intermezzo (conductor - T. Serafin)

An opera in one act by Pietro Mascagni with a libretto (in Italian) by Guido Menasci and Giovanni Tardgioni-Tozzetti, based on the play by Giovanni Verga, which, in turn, is a dramatization of his short story of the same name.

CHARACTERS:

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

Time period: Easter at the end of the 19th century. Setting: a village in Sicily. First performance: Rome, Teatro Costanzi, 17 May 1890.

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

Open, from enormous power expressed all-consuming passion - these are the qualities of the opera that immediately brought it incredible success. Of course, the literary merits of the libretto are also significant. Verga's novella was considered a small literary masterpiece. In addition, E. Duse, this brilliant actress, together with other actors, performed the dramatic version of this short story on stage with great success even before the opera was written. "Rural Honor" was the first and perhaps the most significant triumph in both literature and music of a movement called verismo, "a theory," to quote Webster, "which in art and literature emphasized the depiction of everyday everyday life, the psychological experiences of the characters, attention to dark sides lives of the urban and rural poor."

This small work was the first of three that received a prize in a competition announced by the publisher E. Sonzoño, and it overnight glorified no one at that time. famous composer, who was only twenty-seven years old. Even in New York there was a struggle for the right to have the first production of the opera. Oscar Hammerstein, a few years before he built his great Manhattan Opera House, paid $3,000 just to beat out his rival producer Aronson, who held a so-called "public rehearsal" of the work on October 1, 1891. Hammerstein's performance took place that same evening. All this happened 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 shown 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 off the fame and income from the production 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.

Created in 1890 based on the novel by J. Verga “ Country Honor [d]" The opera premiered on May 17, 1890 at the Teatro Costanzi in Rome. Opera is one of the most famous works verism and is often performed with another famous opera of this direction - “Pagliacci” by Ruggero Leoncavallo.

History of creation

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

Having learned about the competition quite late, Mascagni turned for help to his friend, the poet Giovanni Tardgioni-Tozetti, who decided to borrow the plot of the libretto from the short story by Giovanni Verga, published in 1889 and by that time already successfully dramatized ( main role Eleonora Duse played in the play). Guido Menashi also participated in reworking the plot for the opera. At first, a libretto of two acts was composed, 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 into the competition on the last day and became one of its 73 participants (among others, another opera based on the same short story by Verga, “Evil Easter!” by Stanislao Gastaldon, was entered into the competition, but it was filmed by the author himself ). In March 1890, the jury's decision was announced, declaring Niccola Spinelli's Labilia, Vincenzo Ferroni's Rudello and Mascagni's opera the winners.

Production history

For the first time, "Honor Rusticana" was presented to the public in Rome on May 17, 1890 and had great success. In the same year, the opera premiered in a number of cities in Italy and in Berlin.

The first production in Great Britain took place on October 19, 1891 (Shaftesbury Theatre, London), and on May 16, 1892, “Rural Honor” was presented at Covent Garden.

In the United States, the opera was first staged in 1891 in Philadelphia (September 9), and then almost immediately in Chicago (September 30, under the direction of Minnie Hauck) and New York (October 1). At the Metropolitan Opera, "Honor Rusticana" 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 carried out in 1891 in Moscow (by an Italian troupe) and Yekaterinburg (by a Musical Circle). “Rural Honor” appeared on the professional stage in 1892-1893 in Kazan (entreprise of V. Petrovsky) and in Moscow (Shelaputin Theater).

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

P. I. Tchaikovsky was a big fan of the opera.

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

Characters

Party	Voice	Performer at the premiere May 17, 1890 Conductor: Leopoldo Mugnone
Santuzza, peasant girl	soprano	Gemma Bellincioni
Turiddu, a village boy, recently returned from the army	tenor	Roberto Stagno
Alfio, village driver	baritone	Guadenzio Salassa
Lola, Alfio's wife	mezzo-soprano	Annetta Guli
Lucia, Turiddu's mother	contralto	Federica Casali
Peasants and peasant women

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

In the film The Godfather III, Michael Corleone's son, Anthony, sings in this opera.

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An excerpt characterizing Rural Honor

Rostov felt so awkward and unpleasant with Boris that when Boris looked at him after dinner, he pretended to be asleep and early the next morning, trying not to see him, he left the house. In a tailcoat and a round hat, Nicholas wandered around the city, looking at the French and their uniforms, looking at the streets and houses where the Russian and French emperors lived. In the square he saw tables being set up and preparations for dinner; on the streets he saw hanging draperies with banners of Russian and French colors and huge monograms of A. and N. There were also banners and monograms in the windows of the houses.
“Boris doesn’t want to help me, and I don’t want to turn to him. This matter is decided - Nikolai thought - everything is over between us, but I will not leave here without doing everything I can for Denisov and, most importantly, without delivering the letter to the sovereign. Emperor?!... He’s here!” thought Rostov, involuntarily approaching again the house occupied by Alexander.
At this house there were riding horses and a retinue had gathered, apparently preparing for the departure of the sovereign.
“I can see him any minute,” thought Rostov. If only I could directly hand him the letter and tell him everything, would I really be arrested for wearing a tailcoat? Can't be! He would understand on whose side justice is. He understands everything, knows everything. Who could be fairer and more generous than him? Well, even if they arrested me for being here, what’s the harm?” he thought, looking at the officer entering the house occupied by the sovereign. “After all, they are sprouting. - Eh! It's all nonsense. I’ll go and submit the letter to the sovereign myself: so much the worse it will be for Drubetskoy, who brought me to this.” And suddenly, with a determination 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, like 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 ask him. He will raise me, listen and thank me.” “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, onto the porch of the house occupied by the sovereign.
From the porch a wide staircase led straight upstairs; to the right a closed door was visible. At the bottom of the stairs there 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.
- Please contact the duty officer, please come here (he was shown the door below). They just won't accept it.
Hearing this indifferent voice, Rostov was afraid of what he was doing; the thought of meeting the sovereign at any moment was so tempting and therefore so terrible for him that he was ready to flee, but the chamberlain 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 trousers, over the knee boots and one cambric shirt, apparently just put on, stood in this room; the valet was fastening a beautiful new silk-embroidered belt on his back, which for some reason Rostov noticed. This man was talking to someone who was in another room.
“Bien faite et la beaute du diable, [Well-built and the beauty of youth," 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 another room.
“Encore un petitionnaire, [Another petitioner,”] answered the man with the help.
- Tell him what's next. It's coming out now, we have to go.
- After, after, tomorrow. Late…
Rostov turned and wanted to go out, but the man in the arms stopped him.
- From whom? Who are you?
“From Major Denisov,” Rostov answered.
- Who are you? officer?
- Lieutenant, Count Rostov.
- What courage! Give it on command. And go, go... - And he began to put on the uniform handed to him by the valet.
Rostov went out again into the hallway and noticed that there were already many officers and generals on the porch in full dress uniform, whom he had to pass by.
Cursing his courage, frozen by the thought that at any moment he could meet the sovereign and in his presence be disgraced and sent under arrest, fully understanding the indecency of his act and repenting of it, Rostov, with downcast eyes, made his way out of the house, surrounded by a crowd of brilliant retinue , when someone's familiar voice called out to him and someone's hand stopped him.
- What are you doing here, father, in a tailcoat? – his bass voice asked.
This was a cavalry general who earned the special favor of the sovereign during this campaign, the former head of the division in which Rostov served.
Rostov fearfully began to make excuses, but seeing the good-naturedly playful face of the general, he moved to the side and in an excited voice conveyed the whole matter to him, asking him to intercede for known to the general Denisova. The general, after listening to Rostov, seriously shook his head.
- It’s a pity, it’s a pity for the fellow; give me a letter.
Rostov barely had time to hand over the letter and tell Denisov’s whole business when quick steps with spurs began to sound from the stairs and the general, moving away from him, moved towards the porch. The gentlemen of the sovereign's retinue ran down the stairs and went to the horses. Bereitor Ene, the same one who was in Austerlitz, brought the sovereign's horse, and a light creaking of steps was heard on the stairs, which Rostov now recognized. Forgetting the danger of being recognized, Rostov moved with several curious residents to the porch itself 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 the feeling of delight and love for the sovereign was resurrected with the same strength in Rostov’s soul. The Emperor 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 at hand and putting on a glove. He stopped, looking around and that's it illuminating the surroundings with his gaze, he said a few words to some of the generals. He also recognized the former chief of the division, Rostov, smiled at him and called him over.