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821 CAVALLERIA RUSTICANA (Rustic Chivalry) Opera in one act Music by Pietro Mascagni Libretto by G. Menascf and G. Targioni-Tossotti based on a story by G. Verga First performed at the Teatro Costanzi in Rome on May 17, 1890 CHARACTERS Turiddu, a young soldier: tenor Alfio, the village drover: baritone Santuza, a village girl: soprano Mamma Lucia, owner of the local tavern and Turiddu's mother: mezzo-soprano Lola, Alfio's wife: mezzo-soprano Villagors, Peasants, Altar Boys, Priests ‘The action takes place in a Sicilian village, on Easter Day in the 1890's THE PLOT It is a fino Easter morning in the main square of a Sicilian village. The village gir! Santuzza approaches Mamma Lucia to inquire the whereabouts of her son Turiddu, with whom she has been having a love affair. She is worried because lately he has boen behaving strangely towards her. The two women are interrupted by the arrival of Alfio, the village drover, who sings about the pleasures of his lusty life. He does not yet know that Turiddu has been seeing his young wife Lola in secret. In a brief exchange with Mama Lucia, he admits that he saw Turiddu prowling around his home that very moming, which causes the eavesdropping Santuzza even more worry. Organ music issues from the church and the strains of the Regina Cooli are sung by the villagers and choir boys. A religious procession files into the church and the villagers follow. Santuzza keeps old Mamma Lucia outside to tell her story. She tells, her how Turiddu had promised to marry Lola before he went into the army. Upon his return, he found that she had married and in his dejection took up a liaison with Santuzza. He has now deserted her and gone back to his affair with Lola in spite of her marriage to Alfio. Lucia is shocked but offers no help. Turiddu comes in and Santuzza pleads with him. He offers unconvincing excuses and begins to become violent with her. Their quarrel is interrupted by protty Lola herself, who is on her way to church, singing a ditty about love. After she is gone, the quarrel continues with renewed violence. Finally ‘Turiddu will stand no more and hurls Santuzza to the ground, storming into the church as she loudly curses him. The last one to come to church is Alfio. Santuzza stops him and almost before she knows it she has told him of the goings-on between his wife and Turiddu. Santuzza's eamestness convinces Alfio that she is telling the truth. He runs off, swearing a temible vendetta. Santuzza runs after him. Easter services are now over and the villagers pour out of the church in a happy mood. Turiddu invites everyone to a drink at his mother's tavern. Alfio enters in a somber mood and refuses the drink Turiddu offers him. ‘The two men confront each other, a challenge is exchanged and Alfio calmly informs Turiddu that he will await him behind the garden. Turiddu is now filled with remorse. He goes to his mother, begs her to take care of Santuzza, bids a tearful farewell and runs off to meet Alfio. Santuzza rushes in with some frightened neighbors and a moment later a woman screams out that Turiddu has ‘eon killed. ‘There is general dismay. 522 Cavalleria Rusticana TURIDDU (offstage) 9 ‘bla kai di atti ta katmmisa O Lola chai ai lati a : Oh Lola, whohave of milk the —_ louse, (Oh Lola of the white blouse,) © —‘bjanka e |= Tusa ‘komu a tffrasa © bianca e —russa comm la —_cirasa, and white and red asthe —cheny, (white-skinned and cherry-red lips,) ‘kwanma tafifatssi ‘fai a vukka a isa quannu taffacci fai Ie vucca a risa, whenever you show yourself youmeke your ‘mouth to. —_ smile, (whenever you appear at the window you smile,) bia Yui thd uprima ‘vasu biata coi ida lu primmn vasu! fortunate who givesyou _—the _ fist, Kiss! (fortunate is he who gives you the first kiss!) ‘ara la pworta ‘tua ‘tu 'sangu ©) ‘sparsu Ntra la puorta tua Iu-—ssangu 8) sparsu Inside the door yours the blood is spilled © ‘mum‘me mpwora = ‘si_ «fe. ‘mworu atttfisu © numme mpuorla = si_— ce. muoru_accisu. and — I don't care if there Idie murdered, ¢ —‘sid:du ‘mworu © = “vajum_para'disu E — siddu muom e —vajumparadisu, And iff die and goto _ paradise, ‘si ‘un fe ‘trwova a tia ‘manku ‘fe ‘trasu si mu nce truovu a ttia mancu co trasu! if Idon'tfind you I wont stay. (he curtain is raised. It is Easter morning and the square is deserted. Ono soos the facade of a church to one side and Mamma Lucids tavern to the other. The voices of the villagers can be heard from afar.) WOMEN’S VOICES Kietrantfi Sledsdzano ‘sui Verdi ‘mardsini Gli aranci olozzano sui veri margini, ‘The orange trees. perfume the green verges, “This Siciliana is customarily sung in the Sicilian dialect, oven though an Ialian version is shown in some scores. as follows: O Lola bianca come fir di spino, quando talfaci te, 'affacia il sole; chi tha bacito il labo porporino graia pid bella a Dio chieder non vole. C? scritto sangue sopm In tua porta, ma di resterc a me nom me nimporta; se per te mojo © vado in paradise, non centro se nom vedo il tuo bel viso. The meaning is practically tho seme. Notice that in the Sicilian language in words ike ciresa, cammise, ves, rsa accieu, poralisu, tru, the inter-vocale sis boing transcribed as an[s] sound and nota [2]. This is a lelover Spanishiem, from conturles ago when the Spanish crown ccccupled the teritory of Sciy. Cavalleria Rusticana 523 ‘kantan ‘le altfodole rei inth ‘im or cantan le allodole trai mitt in fior, sing the —_larks amid the — myrtles in flower; ‘tempo e ‘si ‘mormori ‘da oppuno\ tener "Kanto Tompo’ = si_~— mormori. «Ss da_—sognuno il tenero_canto Itistime = to =~ murmur by eachone —the_—tender song kei ‘palpiti riédoppja al kor cho, i palpiti reddoppia al cor. that’ the beating redoubles of the heart. it is time to sing the tender song that quickens the beating of the heart) (The women come on stage.) MEN'S VOICES * ‘im ‘medzo ‘al kampo ‘trate ‘spike ‘dora In mezzo als campo tra le gpicho oro Amid tho field among the ears of com —_ golden “dsundge ‘1 rimore ‘delle ‘vostre ‘spole giungo il ramore delle vostre spole, arrives the noise of your — shuttles* ‘noi ‘stagki ripozands ‘dal lavoro noi stanchi, riposando dal lavoro, we, tired, resting from our labors, a woi_pen'sjams hele ‘okcki ‘di ‘sole a voi ponsiamo, 0 _ belle ‘occhi di sole of you are thinking, oh beautiful —_—eyes-of-sun (we think of you, our bright-eyed pretty ones) 2 oi ko'rrjamo—kome ‘volalaufdjelo. © ‘al ‘suo. ritkjamo a vol comtiamo, come _vola_augollo al suo ichiamo. to you werun, as flies the bird to its mating call. (The men come on stage.) WOMEN ‘tfesssin ‘le ‘custike ‘opre Cossin lo rustiche opre; Coase the rural labors; a verdsine serena alijetasi ‘del salvator Le Ve serena alliotasi del Salvator. The — Virgin sorone rejoices inthe Savior. Tempo @ si monmori da ognuno il tonoro canto che i palpiti raddoppia al cor. (The men and women gradually go off, as Santuzza agitatedly enters and approaches Mamma Lucia, standing outside her tavern.) “this t= weavers instrument for passing «thread ofthe woot from one side ofthe cloth tothe other betwoon the threads of the warp. 524 Cavalleria Rusticana SANTUZZA* ‘dite ‘mam:ma, Dito, Mamma Toll me, Mamma MAMMA LUCIA (surprised to soe her) ‘sei tke WWoi Sei tm... Cho vuoi? Its you?... What do you want? SANTUZZA. turiddu ove Turiddu’ = ov’8? Turiddu, where is he? LUCIA ‘fin kwi jen alferkare il "ikfo ‘mio Fin qui vieni acorere il_—sfiglio- mio? Even here youcome tolookfor the += son_—mine? SANTUZZA ‘vokko saiper softanto perdsinatemi ‘voi ‘dove trovarla Voglio sapor soltanto, perdonatemi voi, dove _trovarlo, I want to know merely, forgive me, where to find hini. LUCIA ‘non'lo'so ‘nom 'vakKo—_‘brige Non lo so; non voglio _brighe! Idont know; [don't want trouble! SANTUZZA. ‘mam:ma ‘utfia ‘vi'suppliko pjanidsendo Mamma Lucia, vi supplico _piangendo, Mamma Lucia, Ibeg you, _in tears, ‘fate kome sinnore a maddaliena fate come il Signore 4 Maddalena, do asdid the Lord to (Mary) Magdalen, ‘ditemi ‘per peta dove tured ditomi per iota dove Turiddu? tell me, for _pity'ssake, whereis._ = Turiddu? LUCIA € —— aridato ‘per ‘il ‘vino a —_frankofonte E ——andato peril vino a — Francofonte. He's gone for wine in —Francofonte. SANTUZZA ‘no ‘lam ‘visto paeze ‘ad alta ‘notte No! Lhan visto in paeso ad alta notte. No! They saw him in the village late at night. “Sentuzza is « Sicilian diminutive for the name Santa, In Turiddu's Addio alla mamma later on, he calls her Santa. Srurdda i Siti dininative for Sale Cavalleria Rusticana 525 LUCIA ‘ke itfi ‘se none tornats a ‘kaza ‘entra Che dici? So non tomato a casa! Entra! What are you saying? (ut) hehasn't boon home! Come inside! SANTUZZA ‘nom ‘posso—enttrare ‘in ‘kaza'vostra ‘sono skomunkata Non posso ontrare in casa vostra... sono scomunicatal I cannot enter into yourhouse.. Tam excommunicated...” LUCIA eke ne 'sai ‘del ‘mio fFxAwalo E che no sai del mio _figlinolo? And what do youknow about my son? SANTUZZA ‘wale ‘spina 2 iy kore Quale spina ho in core! What a thorn Thave in my heart! (The sound of horses' hooves, the jingling of hamess bells and the cracking of a whip are heard. Alfio enters on his cart accompanied by some men.) ALFIO al ketvaltlo ‘skalpita i soinaKti ‘skwiklano cavalo scalpita, i somagli squillano, ‘Tho horse paws the ground, the —hamess bells jing] ‘skjokoki ta Trusta fla schiocchi Ja _—frusta. Ehi la! crack the whip. Hey there! ‘soft vento ‘dyelids ‘kadaTakckwa oo ‘neviki Sofft fl vento golido, cada Tacqua © nevichi, Ietblow the wind icy, let fall the water_—or_—_—iet it snow, a me ke kazaa @ mo cho cosa fa? to me_—what__ does it matter? MEN 0 (ke tel mestjere fare ‘il ~—_—karre'tjere Oh cho bel mestiore far. il’_—~—carrotiorv, Oh — what a jolly occupation tobe a carter, avdar ‘di kwa eile andar di qua oil! togo from here and ther! ALFIO Schiocchi la frusta! Affats out of wedlock at this time and in such @ strict small Catholic village would certainly cause @ young wornan to be ‘excommunicated by the church, In all probability, even though itis never mentioned in the opera, Santuzza is with child, an ‘von greater reason for excommunication. 526 Cavalleria Rusticana a kata lake mama © mikonsola a casa Lola, cho mama @ — miconsola,” She awaits me at home Lola, who lovesme and consoles me, ‘ke ‘tutta fedetta che tutta fedelta. who is all loyalty. (Lola who loves and consoles me awaits me at home, loyalty itself.) ‘il kavaltla i sofnahi ‘skwillino cavalo i i somagli squillino The horse, lot it paw the ground, the hamess bells let them jingle, € — 'paskwa'ed =o, 'soy kw BE Pesqueed fo son qual Its Easter and I = am _here! LUCIA (to Alfio) be'ato ‘voi —kom'par ‘alfjo ke sjete ‘sempre gro kori Boato vol, compar Alfio, che iste sompre allegro cosi! How lucky you, neighbor Alfio, who are always happy like that! ALFIO ‘mam:ma wtfianavvete arjkora ‘di ‘kwel_‘vekekjo ‘vino Mamma Lucia, navete ancora di quel_vecchio vino? Mamma Lucia, have you still, ofthat old wine? (do you still have some of that old wine of yours?) LUCIA ‘non ‘so turiagu © anidats a ——_proviveldeme Non so; Tariddu 2 andatoa =——_—provvedemo. Tdon't know. Turiddu has gone to get some. ALFIO ‘se ‘sempre ‘kwi—‘o visto stamatttina _vitfino a ‘kaza ‘mia se sempre qui! ho visto stamattina_vicino a casa mia. Butheis always here! Tsawhim this morning near my house. LUCIA ‘kome Como? What? SANTUZZA (aside, to Lucia, in a hushed voice) tatfete Tacote! Hush! tm this section Mascagni has put strong musical offbeats on the usually unstressed syllables of Lola and consola. The Phonetics reflect the shifted stocs, Notice the subtle change of verbal mood from scalpita and squillano to scalpitj and squillino. In the frst verso itis “the Ihorse paws tho ground and the bells jinga’; in the repeat i eet the horse paw the ground and the bells jing Cavalleria Rusticana 527 ALFIO Yo 'me'ne'vado ite = woi'alve =i) “Kjeza To menovado, ite voialtrio —in__—chiosa. I amleaving, go _youall to church. (you two go to church.) (Ho leaves.) ‘CHORUS __ redsina ‘eli letare aletuja (Latin) Regina coeli Tewtare. Allelajal Queen of heaven —_ rejoice. Alleluiaht “kwia ‘kwem menvisti portace resutreksit ‘sikut ‘dixit Quia quem moeruisti porte, resurrexit sicut dixit. She who Him = was worthy to bear, risen from the dead as _—_prophesied. (A group of people appear and kneel before the church.) HORUS in:ne'dzdgamo ‘il sipnor ‘none ‘morta Innoggiamo, il Signor non 3 morto! Let us sing hymns, the Lord isnot dead! ci futdsente =a skjuzo lavel Ei —_fulgente ha —dischiuso —_‘Tavel. He, radiant, has opened the tomb. inme'é:dgamo ‘al sinnore risorto Inneggiamo al Signore risorto, Lats us sing hymns to the Lord. risen, ‘odds alffezo ‘abla ‘glorja. ‘del tfel ogi asceso alla gloria dol ciel. today ascended tothe glory of heaven, CHORUS (from inside the church) Alllelajat SANTUZZA Innoggiamo, il Signor non 9 morto, inneggiamo il Signore risorto, etc. {At tho ond of this chorus all enter the church except Santuzza and Mamma Lucia) LUGIA (to Santuzza) perke ‘mai fatto ‘sepno ‘di tatfere Perch® m‘hai fatto sogno di tacoro? Why did youtome make sign to —_keep quiet? (Why did you tell me before to keep quiet?) SANTUZZA voi ‘losapete = 9S ‘mamma ‘prima danidar soldato Voi losapot, 0 | mamma, -— prima di'andar soldato You know it, oh mamma, — before going off —_ soldier (before he went into the army) 528 Cavalleria Rusticana turidsdu aveva a ‘lista e'tema ‘fe dgurato Turiddu avova a Lola toma fe —_giurato, Turiddu had to Lola etomal faith sworn, (Turiddu swore to Lola a vow of etemal faith.) torno ‘la ‘sepspe ‘spoza © Kon un nwovo. amore Toma, Ia soppe sposa; econ un nuovo amore Herotumed, found out she was mamied, and with a new? im ‘voltle ‘spenner ‘2 amma ke “Ki bnitfava yy volle spogner Ja fiamma che gli bruciava 1 he wished to quench the flame that consumed his mama eimai Mam’, Yamail He loved me, I loved him (back)! ‘doppi ‘mia ogni mia, ‘That envious woman, of every joy mine, ‘del su spoz0 dimentika arse di dgelovzia del suo sposo dimentice, arse di golosia. CThat weary, eusband forgets (and) is consumed by jealousy. (That woman, jealous of my every joy, forgetting her new husbend, w: ‘me tla rapito Mo Tha rapito! She stole him from me! ‘priva ‘delonor mio rimango Priva delfonor mio rimango: Deprived of my honor I remain: Tolae turidsdu ‘samano ‘Piang> Lola e@ Turd s‘amano, iango! Lola and Turiddu are lovers, ‘weep! LUCIA ‘mizeri ‘moi ke koza ‘vient imi ig ewesta ‘santo Misori noi, che cosa_——vioni. a dirmi in questo santo Morey on us, what come you to tellmeon this holy SANTUZZA ‘fo son dainmata anidate >'mamma ad implotrare Jo son dannatal «= Andate, omamme, ad implorare 1 am = damned! —Go, ohmamma, to implore © pregate ‘per ‘me © pregate perme. and pray for me. vernra tutiédu vo valtra ‘volta arjkora Vora Turidda, vo! suppl un‘altra volta ancora! Willcome Turiddu, Iwill beg him one more time again! (Turiddu will soon come; I will beg him one more time!) ‘kore core, heart. ras consumed with jealousy.) ‘dsomo giomo? day? idsdio Iddio, God, Cavalleria Rusticana LUCIA qjvtatela voi ‘santa miria Aiutatela voi, Santa Maria! Help her, (Thou) Holy Mary! (Lucia goos into the church. Almost immediately Turiddu enters.) TURIDDU ‘uw kwisarftuttsa Tu. qui, Santuzza? You here, Santuzza? SANTUZZA ‘kwitaspettavo Qui taspottavo. Hore I was waiting for you. TURIDDU e ‘paskwa ig ‘Kjeza_ ‘nom ‘vai Pasqua, in chiosa_non vai? Its Easter, to church you are not going? SANTUZZA. ‘nom vo ‘detsbo parlarti Non vo... dobbo_parlarti Tm not going. Imust talk to you ‘TURIDDU ‘mamma —_tferkavo Mamma ——_corcavo. Mamma _I was looking for. ‘SANTUZZA Dobbo parlarti. TURIDDU ‘ewi “no Qui no! Here no! (Not here!) SANTUZZA ‘dove ‘ssei ‘stato Dove sei stato? Whore have you been? ‘TURIDDU ke ‘wwoi tu'dire a —_frankofonte Che vuoi tudire... a ——_-Francofonte. What do you mean... in Francofonte. SANTUZZA ‘no none ‘ver No, nond ver. No, itisnt true. 529 530 Cavalleria Rusticana ‘TURIDDU santuttsa ‘kredimi Santuzza, _credimi. Santuzza, _ believe me. SANTUZZA. ‘no ‘nom menttire ti vidi ‘voldsere ‘dgu ‘dal senijer No, non montire. Ti vidi volger git dal sentior. No, dontlie. Isawyou tumingoff fromthe —path. © stamattina —_attlalba ‘tan:ng ‘skorts ‘presiso ‘uffo ‘di Hola E _ stamattina —_all'alba thanno scorto prosso Tuscio di Lola. ‘And this moming at dawn you were soon near the doorway of Lola. TURIDDU (angry) a ‘mj spate Ah! Mihai spiato! Ah! You were spying on me! SANTUZZA ‘note To “dsuro No! Te lo giuro, No! I swear to you, @ noi la rakikonttato_kom'par @ noi‘ Tha raccontato compar to us __ittold neighbor (her husband Alfio told us just now.) ‘TURIDDU kozisikambi amor ‘ke Cosi ricambi Tamor cho ‘Thus yourepay __the love ‘that SANTUZZA 2 ‘kwesto ‘non ‘lo ‘dire Oh! Questo non lo dire! Oh! This you musn't say! (Don't say that!) TURIDDU ‘laffami ‘dunkwe imjvan ‘tenti Lasciami dunque! Invan tonti Leaveme then! (Leave me alone!) 1 ‘dsusto ‘zdenno "kolla ‘tua il giusto sdogno colla tua my — rightful anger with your pity. SANTUZZA. ‘uw Tami ‘dunkwe Tu Yami dunque? You — love her, then? In vain you try matits ‘poko fa i marito, poco fa. Alfio her husband just now. ‘ywoi ‘ke muttfida tiporto? = Vuoi cho m'uccida? Tbear you? Do you want that — he kill me? sopire sopire to quench Cavalleria Rusticana ‘TURIDDU No! SANTUZZA (sarcastically) aissai ‘piu bella 2 Mbla Assai pi olla? 2 Lola. Much more beautiful is —Lola.. ‘TURIDDU “ath ‘non ‘lam Tacit Non Famo. Be quiet! ‘don't love her. SANTUZZA “ami <2 mmaletdetts Lami, © —_maledetto! You love her, oh cursed man! ‘TURIDDU Santuzza! SANTUZZA ‘owelda kattiva femmina ti "olse a ‘mme Quella cattiva fommina _—ti tolso amo! That evil female took you away from me! ‘TURIDDU "bada santuttsa = “kjavo ‘non'sono = ‘di ‘kwesta ‘Vana ‘tua Bada, Santuzza, —schiavo nonsono - di_—== questa vana tua Mind, Santuzza _a slave Tm not of this useless your (Sce here, Santuzza, I won't be a slave to your useless jealousy.) SANTUZZA ‘pattimi infsultami ——‘tamo © perdono Battimi, insultami, amo © perdono; Boat me, insult me, love you and _I fongive you; ma e——‘troprpo ‘forte laxfgoffa mia ma _~—_troppo forte Tangoscia mia. but itis too strong _my anguish. (but my anguish is unbearable.) TURIDDU Bada, Santuzza, schiavo non sono etc. SANTUZZA Battimi, insultami etc. (They stop their argument as they hear Lola's voice singing off stage.) aselozia golosia. jealousy. "is important, espocaly in this highly charged emotional encounter, thatthe singer obsorve the ra/doppiamenti as shown in the phonetics: Assai pid bbolla@ Lola. The name Lola has to drip with hate, and needs the double for emphasis. Likewise, Loli's beauty bas to be refered to sazcasticelly with e strong raldoppiamonto. 532 Cavalleria Rusticana LOLA (offstage) for “di dgatdetsolo Fior di Flower of ‘i ‘andgeli bedi ‘stanms a ‘lle in sli angoli bolli stanno a mille in the angels beautiful are by thousands in (Chore are beautiful angels by the thousands in heaven,) ‘ma ‘bello ‘kome ui Ye ne ‘une ‘solo ma — bello come Iui con uno solo! but boautiful like it there is. one only. (but there is no angel as beautiful as the itis flower!)!® Flor di giaggiolo... (She comes into view.) > trideta e ‘alfjo Ob. Turiddu, a Alfio? Obl... Turiddu, has passed Allo? (has Alfio been through here?) ‘TURIDDU (ombarassed) ‘son ‘dgunto ‘ora im pjattsa ‘non ‘so Son giunto ora in plaza, nom so. Ive amived just now on the plaza. Tdon't know. LOLA forse © rimasto ‘dal manisikalko = ma_—_ ‘nom ‘pwo Foro 3 rimasto dal maniscalco, ma non pud Maybe he has stayed atthe blacksmith’s but he cant ‘© voi sentite ‘te funtsjoni im ‘pjattsa E voi, sontite Je funzioni in piazza? And you two will you hear the service out (on the) plaza? ‘TURIDDU santtuttse mi naterava Santuzza mi narrava.. Santuzza _was tolling me... SANTUZZA (bitterly) “Gi ditfevo ke ‘oddsi © © paskwae sinnor Gli dicevo che ogi 8 Pasquao Signor Twastelling him that today is Easter andthe Lord LOLA ‘nom verte ‘ala mesa Non venite alla messa? Aren't you coming to. Mass? heaven, tardare tardare... be long... ‘vede ‘onni ‘kozw vedo ogni cosa! sees everything. "thw is suble doubling in th phase wih te word a which may alan "er n't in ven en age ‘ss handsome as Turiddu” Cavalleria Rusticana SANTUZZA (with malicious intention) ono fi ‘deve andar ki ssa di ‘non Jono. Ci dove andar chi sa di_non NotI. Thore should go who knows of not (Only those who haven't sinned should go to Mass!) LOLA io riygrattsjo =i sipnore © ‘batfo in Jo singrazio == il_—Signore, © bacio in 1 thank the Lord, and kiss the SANTUZZA. 2. fate bene lola Oh! fato bene, Lola! Ob, you do well, Lola! TURIDDU (to Lola) andjamo kwi non abebjam ke tare Andiamo. Qui non abbiam che fare. Let's go. Here we haven't what _ to do. (There's nothing to do here.) LOLA (to Turiddu, with irony) 2 rimanete Oh, rimanoto... Oh, stay. SANTUZZA (to Turiddu) ‘siesta 9 'da_—_parlanti axfkora Si, esta, ho da parlarti ancora. Yes, stay, Thave to talk to you further, LOLA © vassista Hsipnore ‘io me ne vado EE Wassista il Signore. To mone vado. And be with you the Lord. Tam leaving. (ola goes into the church.) TURIDDU ao vedi ‘ke'ai tu ‘dettto Ah! Io vedi, che hai tu dotto? Ab! You see, what have you said? SANTUZZA. lai voluto © ben ti'sta Uhai voluto, © bon tistal You asked for it, “and _—well_you deserve it! TURIDDU (threatening her) a per ‘ddio Ah! per Dio! Ah! By — God! 533 aver petekats aver peccato! having sinned! ‘terra torra! ground! Cavalleria Rusticana TURIDDU peritirsi © ano ‘dopo tffeza Pentirsi 2 vano dopo’ Toffesa. Tobe sory is useless after the offense, [its too late to be sory.) SANTUZZA (in a terrifyingly anguished voice) ‘bada Bada! Beware! Doll'ira tua ‘wa ‘nom ‘mi ‘kur non mi cure! Over the anger yours I don't give a damn! (He throws her down and escapes into the church.) SANTUZZA (in utter rage, calling after him) a te le mala A te la mala To you a bad ‘paskwa sperdguro Pasqua, sporgiuro! Easter, deceiver! (And may your Easter be cursed, deceiver!) 535 (Santuzza collapses in a frenzy of grief. Alfio enters and approaches Santuzza, who then gets up.) SANTUZZA oi sinpore Ob! Signore Oh! The Lord ALFIO a ke punts A che punto ® At what point is SANTUZZA © ‘tardiofmai gE tardiormai. Its late now. ‘ola eantdata Lola 8 — andata Lola has gone in ALFIO (surprised) ke atvete ‘detto Cho avote dotto? What did you say? SANTUZZA. ke ‘mentre ko'rrete Che —montre correto That while you're running around in rain ‘vi'tmanda koma vimenda, compar sends you neighbor ja 'messa Ja mossa? the — Mass? ‘ma per voi Ma por voi, But I must tell you, "kon tiridedu con Turiddu! with Turiddu! atlakkwae alfacqua =e ‘alfjo Alfio! Alfio! ‘al vento al vento in wind | a 536 Cavalleria Rusticana’ @ —— gwadapparvi pane @ ——guadagnarvi il pane, to earn yourself the bread, (earning a living through rain and bad weather.) ‘ola vatdoma ‘I Ytetto in malo ‘modo Lola vadoma = il_—tetfo_ in malo modo! Lola isdecorating your roof in bad — manner!" ALFIO a ‘nel ‘nome “di “ddio. santa “ke «= “dite Ah, nol nome di ‘Dio, ‘Santa, che dite? Ah, inthe name of God, Santa, what are you saying? SANTUZZA ver turidddn ‘mi tolse nore 1 vor... Turiddu mi tolse Tonore, The truth... Turiddu despoiled me of my honor, © YVostra ‘mofée i= rapiva a imme © vostra moglio Ini rapiva.a = mo! and your wife him stole from mo! ALFIO ‘se ‘Voi mentite vo skjantarvi = kore So voi_—montite, vo! schiantarvi il core! if you arelying, —-‘Til_—stear out your heart! SANTUZZA. ‘uz a mentire ‘i Tabibro ‘mio. none Uso a mentire il labbro mio non a! Accustomed to lying the lip mine is not! (Cam not in the habit of lying!) ‘per la__—vergonpa = ‘mia’— ‘pel ‘mio. dolore Per la —vergogna = mia, pel mio dolore, To the shame mine, to my —_ grief a tisteverita ‘vidissi aime la ristoverita vidissi, ahima! the sad truth Thave told you, alas! ALFIO komare ‘santa altlor ‘grato ‘vi'son0 Comare Santa, allor grato vi sono. My friend Santa, then thankful Lam to you SANTUZZA. imfeme jo ‘son ke Vi parla koi Infame io son cho vi parla cos! Vile Tam that‘ I'spoke to you thus! “Tetto means “oof, but in poetry it elio means "house’, or "home", The "decorations" she is refersing to are the horas of the cuckold. The use ofthe word fetio in this case may also be a reference to Alfo's head, where the hors are "decorating? it. Cavalleria Rusticana ALFIO imfami oro ‘ad esi ‘nom perdono _vertdetta Infami lore: ad essi nom perdono, vendetta Vile (are) they; to those _ I won't forgive, vengeance (They are the vile ones; I will have my vendetta) ‘pria ke tramonti adi pria che tramonti il bofore the end of this day. ‘io ‘sangwe vokko alllira_mabsbanidono To sangue voglio, allira mabbandono, I blood want, to rage I abandon myself, (1 want blood, I yield to my rage,) ‘indo. tuts Ia'mor ‘mio fini in odio tutto: Tamer mio fini! in hate all my love ended! (all my love has tumed to hate!) 537 avr avrd Twill have (Alfio stalks off. Santuzza desperately runs after him to no avail and eventually exits also.) INTERMEZZO Gveryono comes out of church. Mamma Lucia crosses the square and goos into her house.) CHORUS MEN a‘kkaza amitfi ‘ove ‘fiaspettans te ‘nostre ‘donne anidjam A casa, amici ove ciaspottano le nostre © donne. ‘Andiam! Homeward, friends, whore await us our women. Let's go! or ke etitsja rasserena Mi ‘anim Or cho lotizia rassorena gli animi, Now that happiness calms down our states of mind, ‘sentsa indudso koterjam senza indugio corriam! without delay Jet us runt CHORUS WOMEN a ‘kkaza amike ‘ove ‘fi aspettans i ‘nostri ‘spozi angjam Acasa, amiche, ove ciaspetiano i nostri sposi, andiam! Homeward, friends, where await us our husbands. —_Lat's go! Or che letizia rassorena gli animi, etc. (ola and Turiddu come out of the church.) ‘TURIDDU kotmare ‘bla ‘ve ‘ne andate via —‘sentsa nemmmens _saliftare Comare Lola, ve no andate via sonza nemmeno —_salutare? Neighbor Lola, you are going without even a word of greeting? LOLA ‘vado ‘a kkaza ‘non 0 visto kom'par Vado casa; non ho visto. compar Tm going home; Thaven't soon neighbor 538 Cavalleria Rusticana TURIDDU ‘non "fi pentsate verrra ‘im pjattsa Non ci ponsate, ver’ in piazza, Don't think about it, he will come to the aquare. @on't worry, he will be here soon.) (To the people around him.) intanto atmitfi ‘kwa bevjamone um —_bikekjere Intanto amici, qua, beviamono un _bicchiare! Meanwhile, friends, hore, Jetusdrink a _glassfull! (All approach the table outside the tavern and pour themselves glasses of wine.) ‘viva vino spumedédsante ‘nel _bikikjere Sfintitante Viva il vino spumeggianto nel _icchiere _scintillante Longlive the wine foaming, inthe glass sparkling ‘kome il 'rizo dcllaimante ‘mite injfonde il ‘dgubilo come il riso dol'amante: mito infonde il giubilo! as laughter from a lover _meokly inspires good cheer! viva il ‘vino ‘ke sintfero Ke ‘fi atljeta ‘opi Viva il vino ch’ sincero, cho ci alliota ogni Hurrah for the wine that is honest, that gladdens for us every © ke afoga ‘tumor ‘nero nellebybrettsa tenera © che affoga Tumor nero nell'ebbrezza tonora! and that drowns the humor black in merriment gentle! {and drowns the blackest mood in gentle merriment!) CHORUS MEN Viva! TURIDDU (to Lola) ‘ai Vostri._a'mori Ai vostri._amori. To your loves. (He drinks.) LOLA (to Turiddu) ‘fortuna Alla fortuna To the good fortune ‘vostra vostra! yours! (She drinks.) CHORUS MEN Vival TURIDDU bevjam Boviam! Let's drink! pensjero pensiero, thought, 534 SANTUZZA. ‘skwartfami pet Squarciami il _potto. Tear out my breast... (Tear out my heart!) TURIDDU (turning to go) No! No! SANTUZZA twriddu askolta i ascolta! Turiddu, Iisten! ‘TURIDDU va Val Go! SANTUZZA Tariddu, ascolta! no trid:du No, Turiddu, No, Turiddu, stay ‘TURIDDO perke seguinni Perch soguirmi.. Why follow me. SANTUZZA No, Turiddu... ‘TURIDDU perke spiammi ‘sul Perchd spiarmi.. Why spy on me... SANTUZZA ‘a 'twa santuttsa La tua Santuzza Your Santuzza ‘pjandse piango ‘weeps ‘kome katetfarla Come cacciarla How send her away thus ‘kori cot ta you *i eipets ‘non ti ripoto... non Tell you again... don't SANTUZZA No, Turiddu, rimani ancora, etc. rimani_ arjkora rimani ancora! a bit longer! limitare sul limitare fin tothe very entrance of the Cavalleria Rusticana abbandsnarmi ‘duykwe ‘uo abbandonarmi dunquo ta To forsake me thon fin Wella dolla ‘Kjeza chicsa? church? e — timplora ¢ — timplora; and — is begging you: ‘pwoi puoi? can? tejammi tediarmi! pester me! Cavalleria Rusticana CHORUS MEN AND WOMEN be'vjam inmovisi a “sostra Boviam! rinnovisi Ja giostra! Let's drink! let's go on with the memymaking! TURIDDU, LOLA, CHORUS Boviam! rinnovisi la giostra! Viva il vino spumoggianto! CHORUS ‘viva vin Viva i vin! Longlive the —_wino! (Alfio appears in the square.) ALFIO a Voi tutti salute A voi tutti, sakuto! To allofyou, —_grestings! CHORUS kom'par ‘alfjo salute Compar Alfio, salute! Neighbor Alfio, greetings! TURIDDU bemvernuto Benvenuto! Welcome! (He fills a glass.) ‘kon ‘noi dovete ‘bere ‘ekko pienso © = _—_oéilktkjere. Con noi dovete bere, ecco piono @ —il_—_—dbiicchiorol With us youmust drink, here, full is the glass! ALFIO (pushing the glass away) ‘gratisje ‘ma ‘vostro ‘io ‘non Iattfetts Grazie, ma il vostro io non Faccotto; ‘Thanks, but your won't accept diverrebibe veleno ‘entro il'mio ‘petto diverrobbo veleno entro il mio potto! it would become poison inside my —_ breast! (stomach!) TURIDDU (throwing the wine away) a piatfer ‘vostro A piacer vostro. At pleasure yours. Gust as you like.) LOLA aime ‘ke ‘mai saa che mai sara? what will happen? 539 540 Cavalleria Rusticana (Some women, after a whispered consultation, approach Lola) CHORUS WOMEN komare ‘bla antdjamo vie di kwa Comare Lola, andiamo vie di qua. Friend Lola, letusget away from _here. (All the women leave, taking Lola with them.) TURIDDU (to Alfio) avete ‘altro a ‘dinni Avote altro a dirmi? Havo you anything olso to _tell mo? ALFIO jo ‘aula Io? Nulla! TP Nothing! ‘TURIDDU allora ‘sons ‘asi ‘ordini ‘Vostri allora. sono agli ordini_vostri. Then Iam atthe orders yours. (Then am at your service.) ALFIO orora Or ora? Right now? TURIDDU Or ora! Right now! (Alfio and Turiddu embrace. Turiddu bites Alfio's right ear in defiance, according to the Sicilian rules of challenge.) ALFIO kom'par wiridda aivete ‘mors a bwono Compar Turiddu, —avete_ morso_a buono; Neighbor Turiddu, —_—_you've bitten to good effect; \fintende'rems ‘bene a ‘kwel ke ‘pare cintoenderemo bone, a quel cho par. we will understand each other well, as it would seem. TURIDDU om'par ‘alfjo ‘oso ‘ke il torte Compar Alfio. loso che il —_torto Tknow thatthe fault is (know that I am in the wrong;) Neighbor Alfio. € —vello'dsuo nel. ‘nome “didi © velogiuro nel nome di Dio and Iswearto you inthe name of God Cavalleria Rusticana ‘ke al'par “dup kane ‘mi farei zgottsar che alpar dun cano_ mi farci sgozzar... that like a dog Td lot mysolf (by you) slit the throat... (that Id let you slit my throat like a dog...) ‘ma ‘nom vivo ‘esta abbandonata ‘povera Ma sio non vivo, _—resta abbandonata povera But if[ don't survive, remains deserted, (my) poor Tei ke mise data lei cho mis data. sho . who tome gave herself... ‘vi sapro ‘iy kore] fervo ‘mio pjantar Vi sapro in core il ferro mio piantar! Twill in heart the dagger mine plunge! (1 will put my dagger through your heart!) ALFIO (coldly) kompare Yate ‘kome _pju ‘vi pjatfe Compare, fate come _ pid vi piace; My friend, do as._—_you like; ‘is —_vaspetto ‘kwi wari ‘djetr> ‘Tonto To Vaspotto qui fuori dietro_ orto. 1 will wait for you here outside behind the orchard. TURIDDU (going to his mother after Alfio has loft) ‘mamma ‘wel ‘vino e — dyene'rozo. ee Yfert Mamma, quel vino 8 —generoso, @~—certo, Mamma, that wine is heady, and for sure ‘woppi bik:kjer ‘ne > wrakammati —vado ‘wort troppi bicchior neho tracannati, Vado faori too many _glassos of itl guzzled. Tam going outside ma prima vokso ke imi benetdite Ma prima voglio cho mi benedite But first T want that you bless me ‘kome ‘kwel ‘dyomo ‘ke parti soldato come quel giomo che __partii soldato. like that day = when J left as a soldier. © poi ‘mamma sentite 'sio Eppoi, Mamma, sontite, sto ‘And then, — Mamma, listen, HEI voi dovrete “fare ‘da ‘madre a voi dovrete fare da madro a you must be like a mother to es ‘non tornasssi non tornassi, shouldn't return, ‘senta Santa, Santa, 541 ‘santa Santa! Santa! “odedgi oggi, today, alla'perts "Ferro rally means “won, but in poetry it aso mans a daggr, a kif, «sword or any type of bade ‘weapon, 542 Cavalleria Rusticana ‘Kio lavea Korfdurla ablattare chi'io Tavoa condurla —_—al'altare. fort hadtoher swom to lead her to the altar. LUCIA perke parli kozi Porch® parti cosi, Why do you speak like that, my son? ‘TURIDDU 2 ‘mba © tl vino ke ma sudsdgerito Ob! nulla... @ ~~ vino. cho—ambha suggerito! Oh! Nothing... is ‘the ~—- wine. that gave me these ideas! ‘per me —_pre'gate Per me For me pray (to) ‘batfo ‘mamma bacio mamma! Kiss, mamma! ‘un altro ‘batho z ‘io non tornassi Ch addio! Sio nom tomassi another Kiss... Farewell If T_werent to come back Yate da madre a ‘santa, um bata addi y fato da madre a = Santa; un —bacio, addio! be a motherto = Santa, a_—iss, _ farewell! (He embraces his mother, kisses her, and rushes out.) LUGIA (desperately ranning after him) twridedu ‘ke ‘ywoi'dire rid a ‘Tariddu! cho vuoidire? —Turiddu! = Ah! Turidai What do you mean? Turiddu! Ab! (Santuzza enters.) Santuzza! SANTUZZA (embracing Lucia) 2 ‘madre ‘mi Oh! —madro mia! Oh, my mother! (The villagers return, all in a stato of great agitation, with expressions of foar on their faces.) WOMAN'S VOICE (offstage) ‘ann ‘ammattsats kom'pare turidedu Hanno ammezzato compare —Turiddu! They've Killed neighbor Turiddu! SANTUZZA Ah! END OF THE OPERA