Time—The present, on Easter day.
Place—A village in Sicily.
"Cavalleria Rusticana" in its original form is a short story, compact and tense, by Giovanni Verga. From it was made the stage tragedy, in which Eleonora Duse displayed her great powers as an actress. It is a drama of swift action and intense emotion; of passion, betrayal, and retribution. Much has been made of the rôle played by the "book" in contributing to the success of the opera. It is a first-rate libretto—one of the best ever put forth. It inspired the composer to what so far has remained his only significant achievement. But only in that respect is it responsible for the success of "Cavalleria Rusticana" as an opera. The hot blood of the story courses through the music of Mascagni, who in his score also has quieter passages, that make the cries of passion the more poignant. Like practically every enduring success, that of "Cavalleria Rusticana" rests upon merit. From beginning to end it is an inspiration. In it, in 1890, Mascagni, at the age of twenty-one, "found himself," and ever since has been trying, unsuccessfully, to find himself again.
The prelude contains three passages of significance in the development of the story. The first of these is the phrase of the despairing Santuzza, in which she cries out to Turiddu that, despite his betrayal and desertion of her, she still loves and pardons him. The second is the melody of the duet between Santuzza and Turiddu, in which she implores him to remain with her and not to follow Lola into the church. The third is the air in Sicilian style, the "Siciliana," which, as part of the prelude, Turiddu sings behind the curtain, in the manner of a serenade to Lola, "O Lola, bianca come fior di spino" (O Lola, fair as a smiling flower).
With the end of the "Siciliana" the curtain rises. It discloses a public square in a Sicilian village. On one side, in the background, is a church, on the other Mamma Lucia's wineshop and dwelling. It is Easter morning. Peasants, men, women, and children cross or move about the stage. The church bells ring, the church doors swing open, people enter. A chorus, in which, mingled with gladness over the mild beauty of the day, there also is the lilt of religious ecstasy, follows. Like a refrain the women voice and repeat "Gli aranci olezzano sui verdi margini" (Sweet is the air with the blossoms of oranges). They intone "La Vergine serena allietasi del Salvator" (The Holy Mother mild, in ecstasy fondles the child), and sing of "Tempo è si mormori," etc. (Murmurs of tender song tell of a joyful world). The men, meanwhile, pay a tribute to the industry and charm of woman. Those who have not entered the church, go off singing. Their voices die away in the distance.
Santuzza, sad of mien, approaches Mamma Lucia's house, just as her false lover's mother comes out. There is a brief colloquy between the two women. Santuzza asks for Turiddu. His mother answers that he has gone to Francofonte to fetch some wine. Santuzza tells her that he was seen during the night in the village. The girl's evident distress touches Mamma Lucia. She bids her enter the house.
"I may not step across your threshold," exclaims Santuzza. "I cannot pass it, I, most unhappy outcast! Excommunicated!"
Mamma Lucia may have her suspicions of Santuzza's plight. "What of my son?" she asks. "What have you to tell me?"
But at that moment the cracking of a whip and the jingling of bells are heard from off stage. Alfio, the teamster, comes upon the scene. He is accompanied by the villagers. Cheerfully he sings the praises of a teamster's life, also of Lola's, his wife's, beauty. The villagers join him in chorus, "Il cavallo scalpita" (Gayly moves the tramping horse).
Alfio asks Mamma Lucia if she still has on hand some of her fine old wine. She tells him it has given out. Turiddu has gone away to buy a fresh supply of it.