May 17, 1890, at the Constanzi Theatre, Rome, it had its first performance. Before the representation had progressed very far, the half-filled house was in a state of excitement and enthusiasm bordering on hysteria. The production of "Cavalleria Rusticana" remains one of the sensational events in the history of opera. It made Mascagni famous in a night. Everywhere it was given—and it was given everywhere—it made the same sensational success. Its vogue was so great, it "took" so rapidly, that it was said to have infected the public with "Mascagnitis."
In "'Cavalleria Rusticana' music and text work in wonderful harmony in the swift and gloomy tragedy." Nothing Mascagni has composed since has come within hailing distance of it. The list of his operas is a fairly long one. Most of them have been complete failures. In America, "Iris" has, since its production, been the subject of occasional revival. "Lodoletta," brought out by Gatti-Casazza at the Metropolitan Opera House in 1918, had the advantage of a cast that included Caruso and Farrar. "Isabeau" had its first performance in the United States of America, in Chicago by the Chicago Opera Company under the direction of Cleofante Campanini in 1917, and was given by the same organization in New York in 1918. (See [p. 625].)
With Mascagni's opera, "Le Maschere" (The Maskers), which was produced in 1901, the curious experiment was made of having the first night occur simultaneously in six Italian cities. It was a failure in all, save Rome, where it survived for a short time.
Of the unfortunate results of Mascagni's American visit in 1902 not much need be said. A "scratch" company was gotten together for him. With this he gave poor performances at the Metropolitan Opera House, of "Cavalleria Rusticana," "Zanetto," and "Iris." The tour ended in lawsuits and failure. "Zanetto," which is orchestrated only for string band and a harp, was brought out with "Cavalleria Rusticana" in a double bill, October 8, 1902; "Iris," October 16th.
CAVALLERIA RUSTICANA
RUSTIC CHIVALRY
Opera, in one act, by Mascagni; words by Giovanni Targioni-Toggetti and G. Menasci, the libretto being founded on a story by Giovanni Verga. Produced, Constanzi Theatre, Rome, May 17, 1890. London, Shaftesbury Theatre, October 19, 1891. Covent Garden, May 16, 1892. America: Philadelphia, Grand Opera House, September 9, 1891, under the direction of Gustav Hinrichs, with Selma Kronold (Santuzza), Miss Campbell (Lola), Jeannie Teal (Lucia), Guille (Turiddu), Del Puente (Alfio). Chicago, September 30, 1891, with Minnie Hauck as Santuzza. New York, October 1, 1891, at an afternoon "dress rehearsal" at the Casino, under the direction of Rudolph Aronson, with Laura Bellini (Santuzza), Grace Golden (Lola), Helen von Doenhof (Lucia), Charles Bassett (Turiddu), William Pruette (Alfio), Gustav Kerker, conductor, Heinrich Conried, stage manager. Evening of same day, at the Lenox Lyceum, under the direction of Oscar Hammerstein, with Mme. Janouschoffsky (Santuzza), Mrs. Pemberton Hincks (Lola), Mrs. Jennie Bohner (Lucia), Payne Clarke (Turiddu), Herman Gerold (Alfio), Adolph Neuendorff, conductor. Metropolitan Opera House, December 30, 1891, with Eames as Santuzza; November 29, 1893, with Calvé (début) as Santuzza.
Characters
| Turiddu, a young soldier | Tenor |
| Alfio, the village teamster | Baritone |
| Lola, his wife | Mezzo-Soprano |
| Mamma Lucia, Turiddu's mother | Contralto |
| Santuzza, a village girl | Soprano |
Villagers, peasants, boys.