A Second Book of Operas

by Henry Edward Krehbiel

[figure: a musical score excerpt]

the second is the broad melody in which she pleads with him to return to her arms:—

[figure: a musical score excerpt]

Between these expositions falls the Siciliano, which interrupts the instrumental flood just as Lola's careless song, the Stornello, interrupts the passionate rush of Santuzza's protestations, prayers, and lamentations in the scene between her and her faithless lover:—

[figure: a musical score excerpt setting the words "O Lola, blanca come flor di spino, quando t'affaci ti s'affaccio il sole">[

These sharp contrasts, heightened by the device of surprise, form one of the marked characteristics of Mascagni's score and one of the most effective. We meet it also in the instrumentation—the harp accompaniment to the serenade, the pauses which give piquancy to Lola's ditty, the unison violins, harp arpeggios, and sustained organ chords of the intermezzo.

When the curtain rises it discloses the open square of a Sicilian village, flanked by a church and the inn of Lucia, Turiddu's mother. It is Easter morning and villagers and peasants are gathering for the Paschal mass. Church bells ring and the orchestra breaks into the eager melody which a little later we hear combined with the voices which are hymning the pleasant sights and sounds of nature:—

[figure: a musical score excerpt setting the words "tempo e si mormori">[

A charming conception is the regular beat and flux and reflux of the women's voices as they sing

[figure: a musical score excerpt setting the words "Gliaranci olezzano sui verdi margini cantando le allo do le tra i mirti in flor . . .">[