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Editorial Reviews
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While occasionally the bel canto operas sound odd in English, here we have a pair of verismo operas, which do not rely on the type of mellifluousness that bel canto requires. The translations avoid silly archaisms and convey the flavor of the dramas vividly. "If ever he discovered, he'd beat me like a dog," Pagliacci's Nedda sings even more pointedly than the direct translation "Oh, if he caught me /He's so brutal..."; and Turiddu's "The very sight of you disgusts me" in Cavalleria Rusticana weighs even more than "I pay no attention to your anger," which could have very easily been substituted. These operas really work in English. Dennis O'Neill is the Canio and Turiddu, and he's equally exciting as both. His diction is exemplary, and the strain put on his voice at forte above the staff seems to suit the characters. The wonderful Nelly Miricioiu is a fine Santuzza, but the role requires, at times, a fiercer middle register and more ferocious exclamatory skills than she can muster. Phillip Joll's Alfio is fittingly crude: he makes the best of his duet with Santuzza. In Pagliacci, Alan Opie's Tonio is towering from his very first "Hello" (a nice substitute for "Si puo?") through his cowering, nasty asides to his final vengeance. Rosa Mannion pulls out all the stops as Nedda. Throughout both operas, David Parry never rushes the action (these are the slowest Cav and Pag on the market), but he leads with an inner tension that guides both works to their inevitable tragic conclusions. The others in both casts, the Geoffrey Mitchell Choir, and the London Philharmonic are all first-rate. --Robert Levine
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3 of 6 people found the following review helpful:
4.0 out of 5 stars
These two are often performed together. Here in English!,
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This review is from: Mascagni: Cavalleria rusticana - Leoncavallo: Pagliacci / David Parry (Audio CD)
These two melodramas are examples of the "verismo" opera. That is, instead of classical heroes or mythical Gods or fantastical worlds, we are supposed to see real people on the stage in more or less real life situations. However, you have to remember this was a more than a century ago in a world and culture that saw itself much differently than we view ourselves.
The first, "Cavalleria Rusticana" (Country Manners) was a sensation when it was first performed and swept the world's opera houses like a wild fire. The music is lush, the choruses beautiful, and the story sensational for the times. Turiddu is off with Lola, the wife of Alfio. Turiddu had pledged to remain faithful to Lola when he had gone off to war, but Lola was married when he returned. In spite, Turiddu turned to Santuzza and despoiled her. Santuzza is actually smitten with Turiddu. This and that happen and Alfio challenges Turiddu to a duel to the death. Before he goes to the duel Turiddu pleads with his mama Lucia to take care of Santuzza if he should die. Talk about milking it! Well, Ruggero Leoncavallo was a young composer and when he heard "Cavalleria Rusticana", he was inspired to write "Pagliacci (the Touring Company)". It is the story of a play within a play. Nedda, who is Cannio's wife, is not really capable of remaining faithful to him. Cannio is jealous in real life and the character of the clown he plays on stage is also a cuckold. Nedda also plays the unfaithful Columbina on stage. Cannio is heartbroken when he is preparing for the stage and sings this opera's immortal aria (track 14). On stage his real jealousy is enflamed by the role he plays and tragedy ensues. The audience thinks it is simply watching the play. Both of these operas were very popular in their day and remain audience favorites. They are often performed together because each is just over an hour long. They ended up being the one big hit each composer had even though they wrote many other works. Leoncavallo has a couple of other works that are still performed in Italy. Mascagni's reputation is still trying to recover from the bad judgment he had in working with the fascists during World War II, but after a festival was held honoring his memory on what would have been his 100th birthday, much was forgiven and there were performances of his other music as well as this opera. These disks provide these operas in English. It is a good thing, I think, since English speakers tend not to be as multi-lingual as Continental Europeans. However, most performances you will hear in an opera hall will likely be in the original language with supertitles. I like this solution because the English underlay of the music is tricky and making the English idiomatic is tough while still remaining faithful to the original. Good set to have.
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