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a cure. He kneels before a shrine to the crucifix in the square and sings an impassioned prayer, "O GesĂą mio...". He begs for God's forgiveness and healing and vows that in return he will marry a "fallen women" and save her from a life of sin. As the crowd disperses, Amalia, who has heard the prayer confronts Vito and demands an explanation. He refuses to answer her and goes back into his workshop.
382:, there was also outrage that the opera's morally dubious characters and the squalid alleys in which they lived were presented as typical of Naples. As a precaution, Daspuro had explicitly set the libretto in 1810, 80 years before both the premiere and the original setting of Di Giacomo's play, but the opera was performed in costumes contemporary to the 1890s.
797:– Maurizio Graziani (Vito), Massimo Simeoli (Annetiello), Paola Di Gregorio (Cristina), Maria Miccoli (Amalia), Antonio Rea (Marco), Tiziana Portoghese (Nunzia); Orchestra Lirico Sinfonica del Teatro della Capitanata; Coro Lirico Umberto Giordano di Foggia; Angelo Cavallaro (conductor). Recorded live at the Teatro Giordano, Foggia in December 2002. Label:
780:
love have proved too strong. Amalia appears, elegantly dressed for the festival, and tells Vito that the coach she has ordered will arrive shortly. Cristina pleads with Vito one last time to remember his vow and not abandon her. Although distressed by her tears, Vito tells
Cristina that he cannot change his ways and leaves with Amalia.
743:
When Nunzia returns with
Cristina, Amalia tells her that she too is passionately in love with Vito and her happiness cannot last. Amalia pleads with Cristina to call off the marriage, offers her money, and finally threatens her with a knife. However, Cristina remains resolute. Nunzia convinces Amalia
724:
To
Cristina's joy, Vito tells her that he is the man who will rescue her. Annetiello comes out of the tavern, now even more drunk. He mocks Vito and makes advances to Cristina whom he has recognised from his visits to the brothel. Vito pushes him away and re-affirms to the distraught Cristina that he
715:
Annetiello arrives, somewhat drunk and apparently unaware of his wife's affair with Vito, although it is common knowledge in the neighbourhood. He asks Marco if the story about Vito's vow is true. Marco confirms the story. Annetiello is momentarily nonplussed but then sings a paean to the approaching
711:
Marco and the crowd comment that Vito's illness is God's punishment for his affair with
Annetiello's wife, Amalia. Vito, coughing blood into his handkerchief, is led into the square by his friends. The crowd goes silent. He says that he wishes he could die, but Nunzia suggests that he try praying for
720:
from the brothel, comes into the square to draw water from the well. Vito asks her if she had thrown the flower and asks her for a drink of water. She lets him drink from the bottle she has filled but then starts to leave. Vito asks her name. She tells him, but tries to leave again. Taking her hand,
779:
Vito is shutting up his workshop when
Cristina approaches him and asks if he still loves her. He cruelly replies that she knows all about love and then points to the brothel. Cristina breaks down in tears. Vito tells her that while he feels sorry for her, he cannot leave Amalia. The bonds of their
747:
After Nunzia and
Cristina leave, Vito arrives at the house. He tells Amalia to leave Cristina alone and, at first, refuses to listen to her pleas for him to resume their love affair. Outside, a violent thunderstorm begins. Amalia throws herself into Vito's arms, and he can no longer resist her. As
229:
had announced a competition open to all young
Italian composers who had not yet had an opera performed on stage. They were invited to submit a one-act opera that would be judged by a jury of five prominent Italian critics and composers. The best three would be staged in Rome at Sonzogno's expense.
733:
Amalia is inside her house sewing and anxiously glancing out the window as she awaits a visit from Nunzia. When Nunzia arrives, Amalia asks her if the rumor of Vito and
Cristina's impending marriage is true. Nunzia replies that it seems the marriage will go ahead. Amalia then asks Nunzia to bring
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Now alone and standing before the shrine where Vito had made his vow, Cristina sings of her grief, how she had longed for someone to rescue her from her sordid life, but in the end, God had refused her wish, "Lascia quei cenci". Offstage, voices are heard singing
Annetiello's song accompanied by
420:
is both gripping and revolting at the same time, like most of these realistic pieces. The music of
Maestro Giordano makes its effects through the rough-hewn ability to achieve a tone appropriate to the situation, and now and again by means of a gentler passage, as for example in Cristina's first
361:
in Naples with the same cast. The Naples performance on 26 April 1892 was a fiasco, booed and jeered by the audience and attacked by the critics the following day. The journalist Eugenio Sacerdoti lamented that he could barely hear the music because "from the beginning, the San Carlo was like a
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prose into Italian verse, nevertheless remained very faithful to the original, including its metaphors and idioms and its three-act structure. Only some material from the play's first act was omitted for the opera in order to compress the action. Despite the three-act structure the opera has a
490:" but as a "betrayed woman" with an unspecified tragic experience in her past. The ending was also changed. Instead of returning to the brothel and pounding on its door, Cristina throws herself into a river. The debauched character Annetiello was eliminated. The revised work, re-titled
191:; Cristina, a prostitute whom Vito has vowed to marry in return for God curing him of his disease; and Amalia, Vito's mistress but married to Annetiello, a hard-drinking habitué of the brothel where Cristina worked. The action unfolds amidst the neighborhood's preparations for the
716:
Piedigrotta festival, joined by the boys and men in the square, "Tutto è già pronto". He then goes into the tavern to resume his drinking. Vito returns to the square and is talking to Marco when a flower is thrown from the window of a brothel and lands at Vito's feet. Cristina, a
771:
On the day of the Piedigrotta festival, the square outside Vito's workshop is filled with people. Vito sings a love song, "Canzon d'amor—che l'ala d'or" The women waiting to depart for the festival sing of their hopes of falling in love there and then dance a
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in 1896. With the help of Daspuro, Giordano revised the libretto in 1894 and sought to tone down the gritty verismo features of the original in the hope of making it more acceptable to Italian audiences. The setting was changed to
776:. More gaily dressed people arrive led by Annetiello who sings in praise of eating and drinking, "Ce sta, ce sta nu mutto ca dice accussì". He then leads them off to the festival leaving Vito alone in the square.
319:
danced by the women as they are about to depart for the Piedigrotta festival, and Annetiello's proposed new song for the festival, "Ce sta, ce sta nu mutto ca dice accussì". The latter is sung in
260:
received one of the 13 "honourable mentions" and impressed. Amintore Galli, Sonzogno's music advisor, convinced the publisher to offer a commission to the young Giordano for a full-length opera.
283:. Sonzogno hired Nicola Daspuro to adapt the work for the opera stage. Daspuro, a giornalist and librettist, was Sonzogno's representative in Naples and had written the libretto for Mascagni's
158:. It was subsequently performed in Naples, Vienna, Berlin and Milan, and various Italian cities over the next two years. In 1897 a considerably re-worked and revised version under the title
734:
Cristina to her. Annetiello appears with his friends. He teases Nunzia and tries unsuccessfully to stop her from leaving. He then fills his friends' glasses with wine and they all sing a
721:
Vito tells her that she is beautiful and asks her about her life. Cristina tells him that she has often dreamt that a man would fall in love with her and rescue her from her sordid life.
748:
lightning flashes, Cristina who is still outside the house, sees Vito and Amalia embracing through the window and cries out "O Vito! Vito!" Amalia closes the shutters in her face.
725:
will marry her. Marco, Annetiello, and the crowd pronounce Vito a saint for his generosity to a fallen woman. Cristina tells Vito that she adores him and will be his slave.
168:. Within a few years, both versions had disappeared from the repertoire. Amongst its rare modern revivals was the 2002 performance at the Teatro Umberto Giordano in
187:
during the early 19th century, the opera's story (and that of the play on which it is based) revolves around a love triangle between Vito, a dyer afflicted with
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when it was presented the following September at the International Exhibition of Music and Theatre, along with other operas by Sonzogno's composers, including
374:
that he regretted having witnessed Bellincioni and Stagno singing amidst "the garbage of the alleys" and "the prisons of sinful womanhood" (i.e.
279:. The play, set in the slums of Naples amidst preparations for the Piedigrotta festival, had in turn been based on Di Giacomo's short story
486:, a residential area at the foot of the green hills surrounding Naples. The brothel disappeared, and Cristina was characterized not as a "
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275:) led to the choice of a similar subject for Giordano's commission—Salvatore Di Giacomo and Goffredo Cognetti's successful 1888 play
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guitars and mandolins. Cristina suddenly runs towards the brothel, pounds on the door, and then faints. The curtain falls.
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disappeared from the opera stage. However, Giordano decided to attempt a re-working of the opera after his triumph with
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as Cristina. Giordano and the cast were called back to the stage for 24 curtain calls. The opera's next stop was the
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kennel of barking dogs." The reaction stemmed partly from outrage that such a sordid story set entirely in a
421:
entry. His sense of drama is stronger than his musical talent, his temperament stronger than his artistry.
441:) and in Prague. It was also performed in several Italian cities between 1892 and 1893, including Milan (
338:, who created the role of Cristina, and sang it in most of the opera's performances between 1892 and 1893
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as Cristina, it too disappeared from the repertoire. Amongst the rare modern revivals of the original
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Now nothing hurts any more, that is true, but at the same time nothing interests or moves any more.
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as Cristina. Neither the audiences nor the critics were impressed. Alfredo Colombani wrote in the
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315:, seen most prominently in three set pieces of the final act: Vito's serenade "Canzon d'amor", a
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fared no better than its predecessor. After a few sporadic performances, including a run at the
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Nunzia tells the crowd that Vito, who has tuberculosis, has suffered another attack. The
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running time of only 74 minutes, less than many performances of Mascagni's one-act
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A crowd of people has gathered in the square outside Vito's dyeing workshop. The
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was appearing on the hallowed stage of the city's most important opera house.
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was Giordano's first full-length opera but owes its existence to his earlier
1049:(libretto printed for the premiere performance). Retrieved 6 September 2017
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Complete piano/vocal score of the 1897 revised version under the title
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The Autumn of Italian Opera: From Verismo to Modernism, 1890-1915
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was a December 2002 production at the Teatro Umberto Giordano in
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994:, Vol. 55. Treccani. Online version retrieved 10 September 2017
875:"Giordano's 'Mala vita': a 'verismo' Opera Too True to Be Good "
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quarter of Naples in 1810, a few days before the start of the
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Stage scene from Act 1 of the April 1892 performance at the
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play of the same name. Giordano's first full-length opera,
948:, Vol. 21, No. 3. pp. 556-560. Retrieved 6 September 2017
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to lyrics written by Di Giacomo expressly for the opera.
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Complete piano/vocal score of the original 1892 version
821:. Di Giacomo wrote the lyrics expressly for the opera.
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The opera was revived in Vienna the following year at
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received a much warmer reception from the audience in
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premiered to great success on 21 February 1892 at the
210:, on whose play and short story the libretto was based
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in Naples. In July 1888 the Milanese music publisher
817:Unlike the rest of the libretto, this song is in
668:Working-class Neapolitan men, women, and children
437:in December 1892 (sung in German under the title
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911:, pp. 84–88. University Press of New England.
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883:, Vol. 75, No. 3, pp. 381-400. Retrieved via
744:to drop the knife and begs her to calm down.
699:An 1813 depiction of the Piedigrotta festival
412:, who had seen the Vienna performance wrote:
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307:Giordano's score makes ample use of the
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1026:. Sonzogno. Retrieved 6 September 2017
846:, pp. 5–6. Greenwood Publishing Group.
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154:premiered on 21 February 1892 at the
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843:Pietro Mascagni: A Bio-bibliography
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571:a dyer afflicted with tuberculosis
256:awarded the First Prize. However,
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975:Quoted in Sansone (August 1994)
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24:
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1198:
1192:Mese mariano
1190:
1182:
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1150:
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1086:
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1051:(in Italian)
1041:
1035:
1028:(in Italian)
1022:
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1008:
1003:
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690:
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638:
622:
605:a prostitute
604:
588:
587:Annetiello,
570:
532:
520:
519:
515:
507:
502:as Vito and
491:
488:fallen woman
476:
472:
471:After 1893,
470:
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445:), Bologna (
438:
424:
417:
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385:
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353:as Vito and
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189:tuberculosis
178:
160:
159:
151:
118:
117:
116:
77:
1254:1892 operas
1152:Regina Diaz
799:Bongiovanni
756:Bernardelli
705:hairdresser
682:Basso Porto
541:Bongiovanni
439:Das GelĂĽbde
193:Piedigrotta
174:Bongiovanni
1233:Categories
917:1555536832
852:0313296626
829:References
774:tarantella
760:Tarantella
718:prostitute
603:Cristina,
589:a coachman
558:Voice type
317:tarantella
254:Cavalleria
199:Background
195:festival.
98:1892-02-21
57:Librettist
1144:Mala vita
1042:Mala vita
942:(review)"
936:Mala vita
795:Mala vita
788:Recording
533:Mala vita
484:Arenaccia
466:Mala vita
435:Krolloper
418:Mala vita
405:Pagliacci
386:Mala vita
343:Mala vita
291:Mala Vita
277:Mala vita
215:Mala vita
179:Set in a
152:Mala vita
119:Mala vita
78:Mala vita
76:the play
26:Mala vita
1184:Marcella
1047:Sonzogno
737:brindisi
676:Synopsis
653:Nunzia,
639:a barber
621:Amalia,
594:baritone
473:Malavita
376:brothels
132:libretto
90:Premiere
73:Based on
65:Language
18:Malavita
1176:Siberia
1087:Il voto
1023:Il voto
940:Siberia
637:Marco,
610:soprano
521:Il voto
492:Il voto
462:Il voto
433:at the
281:Il voto
269:verismo
252:, with
244:Rudello
240:Labilia
176:label.
161:Il voto
148:verismo
96: (
68:Italian
1259:Operas
1219:(1929)
1211:(1924)
1203:(1915)
1195:(1910)
1187:(1907)
1179:(1903)
1171:(1898)
1168:Fedora
1163:(1896)
1155:(1894)
1147:(1892)
1136:Operas
915:
850:
762:, 1886
709:barber
569:Vito,
537:Foggia
431:Berlin
402:, and
390:Vienna
258:Marina
232:Marina
219:Marina
185:Naples
170:Foggia
108:, Rome
1216:Il re
885:JSTOR
805:Notes
767:Act 3
729:Act 2
691:Act 1
576:tenor
554:Role
547:Roles
349:with
166:Milan
130:to a
124:opera
32:Opera
938:and
913:ISBN
848:ISBN
453:).
364:slum
181:slum
142:and
758:'s
238:'s
146:'s
134:by
81:by
34:by
1235::
1045:.
988:.
966:^
944:.
923:^
896:^
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858:^
512::
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304:.
1121:e
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1107:v
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1090:(
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998:.
952:.
934:"
891:.
100:)
20:.
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