Mascagni: Cavalleria Rusticana - Live

This new version of Mascagni’s one-act wonder is everything that verismo should be: intense, passionate and heart stopping as it reaches its grisly climax.

Marek Janowski, working with his own orchestra, the Dresden Philharmonic transforms what is often a lumbering warhorse into a Wagnerian thoroughbred. As he unfolds the opening prelude, scales the climax of the Easter Hymn, or slips into the celebrated Intermezzo you wonder whether you’ve really heard this opera before. And his orchestra rewards him with some sumptuous playing – particularly the strings – and always a scrupulous attention to detail.

The youngish cast is on point too. Melody Moore’s Santuzza has a smoky quality in her lower register hinting at the incomparable Leontyne Price. It underscores her desperation in ‘Voi lo sapete’ when she confesses her history of abuse to Mamma Lucia. And both Santuzza and Brian Jagde’s Turridu ratchet up the drama in their scene outside the church. Remarkably, Jagde almost wins our sympathy when he begs his mother to care for Santuzza before setting off for his duel with Alfio

Lester Lynch is a perky Alfio in his cart, relishing the jaunty melody Mascagni gives him, but he seems to have aged a lifetime by the time that Turiddu bites his ear. Was Lola worth it? Roxana Constantinescu tosses off a flirty version of her aria that leaves you wondering.

When the end comes, there’s no shrieking, no melodrama. The chorus – the MDR Leipzig Radio Choir – who have sung their hearts out for Janowski simply intone their final line. Turiddu is dead: rustic honor is satisfied.

2020 NativeDSD Album of the Year - Opera & Lieder

"Oh yeah, that’s that other opera they always put with Pagliacci on CD’s…” 

Cavalleria Rusticana has never been first in line when people think of great opera. Finally, we have a recording that should bring real credit to this Opera.

Janowski conducts the Dresdner Philharmonie and some well-chosen soloists in a fine performance of Mascagni’s famous opera about love, betrayal, violence, and (of course) Mama!  The opera was a huge hit when first performed in 1890, and this performance reminds us why!

This Pentatone recording of Cavalleria Rusticana is outstanding. Conducted by Polish-German maestro Marek Janowski, recognized as a great master of German music and now artistic director and chief conductor of the Dresden Philharmonie, this is to my mind one of the best renditions of Mascagni’s opera that I have ever heard.

American soprano, Melody Moore, sings Santuzza. She has a rich, velvety involving tone with impressive dramatic expression, excellent technique, and a powerful voice, which she seems to easily project above the orchestra. All Santuzza’s anguish, despair, jealousy as well as her vindictive vein come vigorously across. Moore is very moving in the beautiful Voi lo sapete, o mamma, displaying an exceptional arioso quality in her voice, soaring easily not just in the high notes but in the expression of her pain. Her duet with Turiddu, sung by American tenor Brian Jagde, is excruciatingly sad, contrasting with his indifference and irritation, as she doesn’t leave him alone. Jagde is in great form here; his captivating tenor sounds manly and very clear. His voice has also a terrific dramatic quality and he manages exceptionally well to express fake sincerity (when he denies to Santuzza that he is in love with Lola) and outrage at Santuzza’s doubts and almost obsessive jealousy.

Lola, performed by Romanian mezzo soprano Roxana Constantinescu, is also excellent. Her tone is clear and seductive, demonstrating the character’s sensual appeal. Her appearance when Santuzza and Turiddu are arguing is an effective contrast of her carelessness with the serious drama unfolding between the pair. American baritone Lester Lynch, better known as a dramatic Verdi baritone, does a particularly credible job as Alfio, the betrayed husband of adulterous Lola. His duet with Santuzza when she tells him the truth about Lola’s and Turiddu’s relationship is remarkable. His voice exuding drama, fury and desire for revenge convincingly throughout.

The MDR Leipzig Radio Choir is extraordinary throughout. The voices soar with power and beauty above the orchestra and there are moments where they get right under the skin, sending shivers down one’s spine. Marek Janowski leads the Dresdner Philharmonie in a superb account of Mascagni’s music, highlighting the drama and sustaining the voices with clarity, harmonising the power of the orchestra with that of the voices, allowing them to float above the instruments rather than overwhelm them. I should add at this point that the dramatic power of the piece was at its most impressive when I heard the digital streaming through my Plantronics headphones. The effect via the Bluetooth I have set up on my Hi-Fi system is also powerful but to a slightly less degree of impact.

This Pentatone recording of Cavalleria Rusticana is currently available as DSD (Direct Stream Digital), which is how I heard it. The recorded sound is marvelous in its clarity and energy. The booklet is stylish, appropriately with a stunning cover photo of Mount Etna during an eruption, spilling bright red lava against the Sicilian sky. It clearly symbolizes the emotional eruption of the drama and effectively marks the geographical location where it happens. The booklet notes, written by Steffen Georgi, make interesting reading and appear in English and German. There are no artists’ biographies, but the booklet contains the full libretto in the original Italian with the English and German translations side by side.

I enjoyed this recording of Mascagni’s Cavalleria rusticana immensely. Pentatone made the wise decision, to my mind, of presenting this one act opera on its own rather than with the one that usually accompanies it on stage productions, meaning with Ruggiero Leoncavallo’s I Pagliacci. In this way, it allows the listener to better concentrate on Mascagni’s work and therefore savor it more in all its detail and glory. This recording also compares favorably with previous recordings known to me. This is no mean feat and reflects exceptionally well on conductor Marek Janowski who manages a fresh take on a piece that is (almost!) too often staged and recorded.