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Pietro Mascagni, Cavalleria rusticana

Prelude

"Oh Lola c'hai di latti la cammisa"

"Gli aranci olezzano sui verdi margini"

"Dite, mama Lucia"

"Il cavallo scalpita"

"Beato voi, compar Alfio... Inneggiamo il Signor"

"Voi lo sapete, o mama"

"Tu qui, Santuzza?"

"Fior di giaggiolo"

"Ah! lo vedi"

"Oh! Il Signore vi manda"

Intermezzo sinfonico

"A casa, a casa, amici" - "Comare Lola"

"Viva il vino spumeggiante"

"A voi tutti salute"

"Mamma, quel vino è generoso"- "Turiddu?! Che vuol dire?"

Ruggero Leoncavallo, Pagliacci

I: "Si puo'? Signore! Signori!"

I: "Son qua! Ritornano"

I: "Un grande spettacolo!"

I: "Un tal gioco, credetemi"

I: "I zampognari"

I: "Qual fiamma aveva nel guardo!"

I : "Sei là" - "So ben che difforme" - "Oh! Lasciami"

I: "Nedda! … Silvio! A quest'ora, che imprudenza"

I: "Cammina adagio"

I: "Recitar!" - "Vesti la giubba"

Intermezzo

II: "Presto, affrettiamoci"

II: "Pagliaccio, mio marito"

II: "E Dessa! Dei, com'è bella"

II: "Arlecchin! Colombina!" - "Prendi questo narcotico"

II: "Versa il filtro nella tazza sua!"

II: "No, pagliaccio non son"

II: "Suvvia, così terribile"

Mascagni's Cavalleria Rusticana and Leoncavallo's Pagliacci

Mario Martone (stage director), Daniel Harding (conductor) — With José Cura (Canio), Oksana Dyka (Nedda), Luciana D'Intino (Santuzza), Giuseppina Piunti (Lola) ...

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Cast

Mario Martone — Stage director

Sergio Tramonti — Scenography

Ursula Patzak — Costume designer

Pasquale Mari — Lighting

Cavalleria Rusticana:

Luciana D'Intino — Santuzza

Giuseppina Piunti — Lola

Program notes

The classic double bill of operatic verismo returns to the storied stage of La Scala in Milan with a visually singular and vocally striking production by stage director Mario Martone! Mascagni’s Cavalleria Rusticana and Leoncavallo’s Pagliacci—known affectionately as “Cav and Pag” when performed together, as is often the case—are musically and stylistically different, but both depict the tragic consequences of romantic jealousy run amok.

Martone’s unconventional stagings, moody and atmospheric, highlight the drama of both works as Daniel Harding’s musical direction brings out the gorgeous melodies of Cavalleria (including its beloved Intermezzo, often performed as a concert piece) and the expressive power of Pagliacci (Bachtrack). The late, great Salvatore Licitra, in one of his last roles, shines as the soldier Turiddu, and the reliably brilliant José Cura brings heartbreaking pathos to tragic clown Canio—you’ll be applauding even after “the comedy is over”…

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