100 Great Operas and Their Stories: Act-By-Act Synopses by Henry W. Simon Page B

quiet music, like a prayer. Soon it becomes more dramatic, and in the middle of it is heard the voice of the leading tenor, off-stage, singing a love serenade—the Siciliana . He is the recently returned soldier Turiddu, and he is serenading his mistress, Lola.
    THE OPERA
    After the prelude, the orchestra and chorus set the scene for us by describing a fine Easter Sunday morning on the principal square of a Sicilian village. Presently the village girl, Santuzza, asks old Mamma Lucia about her son Turiddu.Santuzza is badly worried because she is engaged to Turiddu, and some of his recent behavior has not been very fitting. The two women, however, are interrupted by the entrance of Alfio, a bluff, hearty, and popular young teamster, who sings a jolly song about his jolly life, as he cracks his whip (Il cavallo scalpita) . He does not yet know that Turiddu has been making love to his pretty wife, Lola. A brief exchange with Mamma Lucia, in which he mentions that he had seen her son that morning near his house, makes Santuzza even more suspicious.
    But now some organ music issues from the church. Off-stage, the choir sings. The villagers all kneel, and with Santuzza contributing a fine solo, they join in a beautiful prayer, the Regina coeli . A religious procession enters the church and the villagers follow, but Santuzza keeps old Lucia outside to tell her story. In the aria Voi lo sapete she tells how Turiddu, before he went to the Army, promised to marry her, how he returned and deserted her, and how he is now paying court to Lola. Lucia is shocked but promises no help. Therefore, when Turiddu himself comes in, Santuzza appeals to him directly. He offers unconvincing excuses, and he is growing very angry, when they are interrupted by the subject of the quarrel. Lola, very prettily dressed, comes in, on her way to church, singing a ditty about love; and when she has gone, the quarrel breaks out again with renewed violence. Finally, Turiddu will stand no more of it. He hurls Santuzza to the ground and storms into the church as she cries a curse after him.
    The last one to come to church is Alfio. Santuzza stops him, too, and almost before she knows it, has told him of the goings-on between Lola and Turiddu. Santuzza’s earnestness leaves no doubt in his mind that she is telling the truth. He runs off, swearing a terrible vengeance, and Santuzza, filled with remorse, follows him.
    With the stage empty, the orchestra plays the lovely, devotional Intermezzo . It is an ironically peaceful comment on the murderous passions that have been aroused.
    Now church is over, and the villagers pour happily out. Turiddu invites everyone to a drink and sings his gay Brindisi , or Drinking Song . But Alfio, in a menacing mood, comes onthe scene and angrily refuses Turiddu’s offer of a drink. The two men confront each other, a challenge is exchanged, and Alfio imperturbably answers Turiddu’s violent threats by saying he will meet him in the orchard. It is now Turiddu’s turn to be filled with remorse. He calls his mother, bids her take care of Santuzza, takes a tearful farewell, and runs off. The terror-stricken Santuzza rushes in with some frightened neighbors, and a moment later a woman screams that Turiddu has been murdered. Alfio has won his duel.

LA CENERENTOLA
    (Cinderella)
    Opera in two acts by Gioacchino Rossini with
libretto in Italian by Jacopo Ferretti, based on
Charles Guillaume Etienne’s three-act French
libretto Cendrillon for operas by Niccolò
Isouard and Daniel Steibelt
DON RAMIRO , Prince of Salerno
Tenor
DANDINI , his valet
Baritone or Bass
ALIDORO , professional philosopher serving the Prince
Bass
DON MAGNIFICO , Baron of Monte Fiascone
Bass
his daughters
 
    CLORINDA
Soprano
    THISBE
Mezzo-soprano
CINDERELLA (or LA CENERENTOLA , whose real name is Angelina), Don Magnifico’s stepdaughter
Contralto
    Time: unspecified, but the manners and customs are those of the 18th century
    Place: Salerno
    First