Turiddu, a young villager, is the son of Lucia, and the lover of Lola, (who is the wife of Alfio; having married the latter during Turiddu's prolonged absence in military service). Turiddu wins the affections of Santuzza, whom he wrongs; while, in the meantime, he is intimate with Lola. On Easter morning, (the opening of the opera), Alfio is incidentally informed, by Santuzza, of his wife's unfaithful actions. He challenges Turiddu (biting the ear, as was the rustic Sicilian custom). Turiddu, though regretting his past evil course, accepts the challenge and is killed by Alfio.
A comprehensive guide to CAVALLERIA RUSTICANA and I PAGLIACCI, featuring insightful and in depth Commentary and Analysis, a complete, newly translated Libretto of each opera with Italian/English side-by side, and over 60 music highlight examples.
(Amadeus). Opera's most enduring tragic double bill of verismo masterpieces, Cavalleria rusticana and Pagliacci share many common features, most noticeably their direct language, plot simplicity, common-folk characters, and themes of adultery, betrayal, revenge, and murder. Written within two years of each other, and both set in villages in southern Italy, they feature dramatic confrontations, turbulent emotions, and gritty realism. Cavalleria rusticana takes place on Easter in a Sicilian village, where Turiddu, after returning from the army to find his beloved Lola married to the carter Alfio, found solace with the peasant girl Santuzza but ultimately betrayed her and ruined her reputation. When Turiddu goes back to Lola, Santuzza seeks revenge, with tragic results. In Pagliacci , a troupe of traveling commedia dell'arte players is torn apart when its leader, Canio, discovers that his wife, Nedda, has taken a lover. In the ensuing "play within a play," the actors struggle to go on with their performance as the line between theater and reality collapses, leading to an explosive climax.
“With their intellectual brilliance, humor and wonderful eye for detail, Leonard Bernstein’s letters blow all biographies out of the water.”—The Economist (2013 Book of the Year) Leonard Bernstein was a charismatic and versatile musician—a brilliant conductor who attained international superstar status, and a gifted composer of Broadway musicals (West Side Story), symphonies (Age of Anxiety), choral works (Chichester Psalms), film scores (On the Waterfront), and much more. Bernstein was also an enthusiastic letter writer, and this book is the first to present a wide-ranging selection of his correspondence. The letters have been selected for the insights they offer into the passions of his life—musical and personal—and the extravagant scope of his musical and extra-musical activities. Bernstein’s letters tell much about this complex man, his collaborators, his mentors, and others close to him. His galaxy of correspondents encompassed, among others, Aaron Copland, Stephen Sondheim, Jerome Robbins, Thornton Wilder, Boris Pasternak, Bette Davis, Adolph Green, Jacqueline Kennedy Onassis, and family members including his wife Felicia and his sister Shirley. The majority of these letters have never been published before. They have been carefully chosen to demonstrate the breadth of Bernstein’s musical interests, his constant struggle to find the time to compose, his turbulent and complex sexuality, his political activities, and his endless capacity for hard work. Beyond all this, these writings provide a glimpse of the man behind the legends: his humanity, warmth, volatility, intellectual brilliance, wonderful eye for descriptive detail, and humor. “The correspondence from and to the remarkable conductor is full of pleasure and insights.”—The New York Times Book Review (Editors’ Choice) “Exhaustive, thrilling [and] indispensable.”—USA Today (starred review)
The first systematic attempt to focus on the instrumental role of silent cinema in early twentieth-century conceptualizations of the ancient Mediterranean and Middle East. It is located at the intersection of film studies, classics, Bible studies and cultural studies.
