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Updated: May 11, 2025
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.
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.
My three years are up now, and once I have seen my good friend safely married I shall return to America and begin the serious business of life." "You are then in business? My mother's cousin, Alfio Amato, is likewise a business man. He deals in fruit. Beware of him, for he would sell you rotten oranges and swear by the saints that they were excellent." "Like Martel, I have land which I lease.
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.
He repulses her roughly, and in despair she tells Alfio the story of his wife's inconstancy. Alfio challenges Turiddu to mortal combat, and kills him as the curtain falls. Squalid as the story is, it is full of life and movement, and has that simple directness which is essential to success. The music is melodious, if not very original, and vigorous even to brutality.
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.
When he spoke to her it was almost in a drawl, but no matter to what a lackadaisical level he reduced his voice, her replies were always punctuated by a retort that had in it the sense of sting, as Alfio in Cavalleria Rusticana accompanies his song with the crack of a driving-whip.
She attempts to follow him, but falls upon the steps just as Alfio comes up. To him she relates the story of her troubles, and of Turridu's baseness. Alfio promises to revenge her, and another powerful duet follows. As they leave the stage, there is a sudden and most unexpected change in the character of the music and the motive of the drama.
With true Sicilian naivete the priest added: "He is growing rich! Beato lui! He for one will not need to go to your golden America. Is it true, Signore, that in America any one who wishes may be rich?" "Quite true," smiled the young man. "Even our beggars are rich." The priest wagged his head knowingly. "My mother's cousin, Alfio Amato, he is an American. You know him?" "I'm afraid not."
While Maddalena laid her flowers upon the lap of the saint, Gaspare bought from a boy three sheets of paper containing Sant' Onofrio's reproduction, and three more showing the effigies of San Filadelfo, Sant' Alfio, and San Cirino. "Ecco, Donna Maddalena! Ecco, signorino!" He distributed his purchases, keeping two for himself.
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