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"But the women are meaner than the men," replied she, "because they're more ignorant and narrow-minded." He was regarding her with an expression that made her uneasy. "But that isn't in the play none of it," said he. "Well, it ought to be," replied she. "Santuzza is the old-fashioned conventional heroine. I used to like them until I had lived a little, myself. She isn't true to life. But in Lola "
Her performances at the Manhattan Opera House in 1906-7 were memorable, vocally superb. Her Carmen was out of drawing dramatically, but her Anita and her Santuzza remained triumphs of stage craft. Emma Eames, born August 13, 1867, is three years younger than Mme. Calvé. She made her début as Juliette, March 13, 1889.
But to see her after the Santuzza of Duse, in Verga's "Cavalleria Rusticana," is to realise the difference between this art of the animal and Duse's art of the soul. And if one thinks of Réjane's "Sapho," the difference is hardly less, though of another kind.
Turridu invites him to join them and drink; but he refuses, and the quarrel begins. Lola and the frightened women withdraw. Turridu bites Alfio's right ear, a Sicilian form of challenge. The scene closes with the death of the former at Alfio's hands, and Santuzza is avenged; but the fickle Lola has gone her way bent upon other conquests.
Kronold as Santuzza, Miss Campbell as Lola, Guille as Turridu, Del Puente as Alfio, and Jeannie Teal as Lucia. The story upon which the text of "Cavalleria Rusticana" is based is taken from a Sicilian tale by Giovanni Verga.
Her voice is superb, yet she often loses a vocal opportunity for dramatic effect, often mars its beauty in the excitement that tears a passion to tatters. Withal there is a charm to her singing that can never be forgotten by those who have heard it. Her first triumph was won as the interpreter of Santuzza, in "Cavalleria Rusticana," Mascagni himself preparing her for the rôle.
Turridu, a young Sicilian peasant, arrived home from army service, finds that his old love, Lola, during his absence has married Alfio, a carter. To console himself he makes love to Santuzza, who returns his passion with ardor.
The inconstant Turridu, however, soon tires of her and makes fresh advances to Lola, who, inspired by her jealousy of Santuzza, and her natural coquetry, smiles upon him again. The latter seeks to reclaim him, and, when she is rudely repulsed, tells the story of Lola's perfidy to Alfio, who challenges Turridu and kills him.
As she approaches the pair the song grows livelier, and at its close she banters poor Santuzza with biting sarcasms, and assails Turridu with all the arts of coquetry. She passes into the church, confident that the infatuated Turridu will follow her. An impassioned duo of great power follows, in which Santuzza pleads with him to love her, but all in vain. He rushes into the church.
He enlists as a soldier, and on his return from the wars finds that the fickle damsel has married Alfio, a carter. He looks round him for fresh conquests, and his choice falls upon Santuzza. This arouses all Lola's latent coquetry, and she soon contrives to win him back to her side. The deserted Santuzza appeals in vain to his love and pity.
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