Cavalleria rusticana and Pagliacci both employ a shared aesthetic musical language known as Italian verismo. Despite the distinct compositional styles of Pietro Mascagni and Ruggero Leoncavallo, their works harmonise so well that they have become almost impossible to separate. La Scala is currently presenting the 2011 production by Mario Martone, revived this season by Federica Stefani. Cavalleria is renowned for its portrayal of a Sicilian village at the end of the 19th century, a setting predominantly reflected in Ursula Patzak's costume design. The attire features predominantly black and grey hues, occasionally punctuated by white dresses, while the men sport the traditional flat caps typical of the region.
The stage is empty and enveloped in darkness, with only Pasquale Mari's skilful and diverse lighting offering glimpses of the shifting moods. Each character, including the chorus members, carries their own chair onto the stage, assuming a disciplined formation akin to a sacred tableau. During the Easter mass scene, the entire ritual is meticulously displayed on stage, complete with an altar at the rear and a towering crucifix looming over the proceedings. Meanwhile, the intense drama between Santuzza, Turiddu, Lola and Alfio unfolds prominently at the forefront – a cleverly conceived notion that underlines the cinematic pacing inherent in Mascagni's composition, with the outdoor scene closely mirroring the duration of a mass.
Santuzza was portrayed by Saioa Hernández, whose powerful soprano was exceptionally well-suited to the role. Her high notes were unwaveringly solid, and her rendition of the Easter Hymn was nothing short of glorious. Her middle register was confidently projected and secure, avoiding any sense of strain; her delivery of “Sono scomunicata!” at the outset sent shivers down the spine.
Her unfaithful lover, Turiddu, was portrayed by Brian Jagde, who embodied the role of the impulsive, passionate youth with conviction. His gestures carried a distinctly modern, American flair, which juxtaposed somewhat with Hernández's more traditional movements, effectively highlighting the irreconcilable divide between them. Jagde's tenor was robust and resonant, characterised by solid high notes, albeit with a raw edge that lent authenticity to his portrayal of the character.
Lola, the married woman entangled with Turiddu, was the spirited Francesca di Sauro, whose mellow mezzo-soprano exuded sensuality without descending into vulgarity. Her husband Alfio was Amartuvshin Enkhbat, whose baritone possessed a richness that almost seemed too refined for the character, who typically demands a certain ruggedness. The duet between Enkhbat and Hernández was notably successful though, Enkhbat's portrayal of rage carrying a palpable intensity, underscored by a subtle undercurrent of sorrow.
Elena Zillio, a seasoned veteran, delivered a masterclass in interpretation with her portrayal of Mamma Lucia. Her performance was marked by passion and remarkable effectiveness throughout. Honourable mention to chorus member Maria Miccoli, who exploded in a spectacular “Hanno ammazzato compare Turiddu!” in the climactic finale.
Enkhbat showcased his versatility by appearing in both operas, portraying Tonio in Pagliacci as well. His rendition of the Prologue was marked by elegance and depth, with brilliant high notes impeccably supported. His execution of “Un nido di memorie”, a notorious pitfall, was particularly noteworthy for its splendid pianissimo. Martone's staging for Pagliacci, while perhaps more conventional compared to Cavalleria, proved highly effective. The sets by Sergio Tramonti depict a highway junction on the outskirts of a city, looming over the stage as a bridge under which young women solicit. This grim setting serves as the backdrop for the play performed by the traveling troupe of actors, featuring their caravan and captivating acrobatic acts. Martone ingeniously breaks the fourth wall by extending platforms into the audience on both sides of the stage, allowing certain scenes to unfold amidst the theatregoers, enhancing the immersive experience.
Fabio Sartori's portrayal of Canio was the standout performance, with his commanding tenor perfectly suited to the role. His delivery featured robust, fearless high notes, embodying the character's brutal and volatile nature with intensity. Irina Lungu's Nedda was characterised by sensuality and vivacity. Her “Stridono lassù” was delightful, showcasing good trills and secure high notes. Silvio, Nedda's lover, was Mattia Olivieri, whose strong baritone captured the essence of the youthful and passionate lover. The love duet between Lungu and Olivieri was a highlight, full of chemistry and elegant phrasing. The cast was further enhanced by the enthusiastic and enjoyable performance of Jinxu Xiahou as Beppe/Arlecchino.
Both operas depend significantly on the chorus to weave the narrative, and the renowned La Scala chorus once again delivered with precision and nuanced interpretation. Their intervention just before the commencement of Canio and Nedda's play was particularly noteworthy, earning them showstopping applause. The orchestra, under the direction of Giampaolo Bisanti, produced a rich and flexible sound. While Bisanti's approach seemed occasionally too cautious, he skilfully avoided falling into the trap of overly dramatic ‘tradition’, resulting in a successful performance.
