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A high-bosomed young woman with a powerful mezzo soprano that pulled her mouth to a rhomboid sang Santuzza's famous aria from "Cavalleria Rusticana," stopping suddenly to some unseen signal. "Fine, strong voice of resonant tin," said Visigoth, under his breath. A throaty young tenor sang "Ride, Ride, Pagliacci," through to the sob, anticipating it with a violent throw of body.

So, it was not Santuzza's but Lola's first entrance that she studied. In the next morning's mail, under cover addressed "Miss Susan Lenox, care of Miss Lorna Sackville," as she had written it for Brent, came the promised check for forty dollars.

And experience had taught her why it is that human nature soon tires of intensity, turns to frivolity. She felt that, if she could act, she would try to show that not Turiddu's fickleness nor his contempt of the woman who had yielded, but Santuzza's sad intensity and Lola's butterfly gayety had cost Santuzza her lover and her lover his life.

As the sacristan opens its doors, the villagers appear and sing a hymn to the Madonna. A hurried duet follows, in which Santuzza reveals to mother Lucia her grief at the perfidy of Turridu. In the next scene Turridu enters. Santuzza upbraids him, and a passionate duet follows in which Santuzza's suspicions are more than confirmed by his avowal of his passion for Lola.