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69-623: Maurice Yvain was born in 1891 into a musical family in Paris. He was educated by his father, who played the trumpet in the Orchestre de l' Opéra-Comique . From 1903, he studied at the Conservatoire de Paris where he was a pupil of Louis Diemer and Xavier Leroux . An excellent pianist, he first played as an accompanying pianist at the Casino d'Évian. He went on to play with the orchestra at

138-416: A few verses at a time on the back of a postcard. As Mascagni believed that the work was hastily written and not reflective of his best efforts, his courage deserted him and he placed the draft in a drawer, from where his wife, Argenide Marcellina "Lina" Mascagni, removed it and submitted it on the last day that entries would be accepted. In all, 73 operas were submitted, and on 5 March 1890, the judges selected

207-632: A success from its opening notes. Following Stagno's rendition of the Siciliana behind the curtain, the audience leapt to their feet with a thunderous applause not heard for many years. The Siciliana was encored as were several other numbers in the opera. It was a sensation, with Mascagni taking 40 curtain calls and winning the First Prize. Although Mascagni had started writing two other operas earlier ( Pinotta , premiered in 1932, and Guglielmo Ratcliff , premiered in 1895), Cavalleria rusticana

276-583: Is an opera in one act by Pietro Mascagni to an Italian libretto by Giovanni Targioni-Tozzetti and Guido Menasci , adapted from an 1880 short story of the same name and subsequent play by Giovanni Verga . Considered one of the classic verismo operas, it premiered on 17 May 1890 at the Teatro Costanzi in Rome. Since 1893 , it has often been performed in a so-called Cav/Pag double-bill with Pagliacci by Ruggero Leoncavallo . In July 1888

345-732: Is in the air. The women leave, taking Lola with them. In a brief exchange of words, Alfio challenges Turiddu to a duel. Following Sicilian custom, the two men embrace, and Turiddu, in a token of acceptance, bites Alfio's ear, drawing blood which signifies a fight to the death. Alfio leaves and Turiddu calls Lucia back. He tells her that he is going outside to get some air and asks that she be a kindly mother to Santuzza if he should not return: "Un bacio, mamma! Un altro bacio!—Addio!" ("One kiss, mother! One more kiss! – Farewell!"). Turiddu rushes out. Lucia, weeping, wanders aimlessly around outside her house. Santuzza approaches and throws her arms around her. The villagers start to crowd around. Voices are heard in

414-547: The Casino de Monte Carlo and in the Parisien Cabaret des Quat'z'Arts . After military service from 1912 to 1919, he returned to Paris where he started to compose songs for light music, operettas, musicals, for films such as Vincent Scotto and Henri Christiné . One of his early successes was "Dansez-vous le foxtrot" in 1919. Maurice Chevalier , whom he had met in the army, introduced him to Albert Willemetz and to

483-629: The Middle Ages popular light theatrical entertainments had been a part of the seasonal Parisian fairs, especially the Foire Saint-Germain and the Foire Saint-Laurent. They included farces, tightrope acts, acrobatics, and marionettes, and also included music, such as vaudevilles and popular songs. The audiences were diverse, from all levels of society, and the presentations were given on makeshift stages. However, with

552-649: The Palais Garnier , one of the theatres of the Paris Opéra . The musicians and others associated with the Opéra-Comique have made important contributions to operatic history and tradition in France and to French opera. Its current mission is to reconnect with its history and discover its unique repertoire to ensure production and dissemination of operas for the wider public. Mainstays of the repertory at

621-526: The Théâtre des Bouffes Parisiens . His pieces are characterized by rhythmic precision, imagination and flexibility of musical phrases. A. Willemetz, Jacques-Charles, H. Varna and H. Heanson were his lyricists and librettists. Occasionally he also wrote the lyrics. In the 1930s, his operettas were almost immediately translated and performed in Germany, Hungary and Austria as well as on Broadway where Ta Bouche

690-462: The 50th anniversary of the opera's premiere. The performance by the La Scala orchestra and chorus with Lina Bruna Rasa as Santuzza and Beniamino Gigli as Turiddu also has a spoken introduction by Mascagni. Originally released as on 78rpm discs, then an LP, it is available on CD under several historical recording labels. A double-bill performance of Cavalleria and Pagliacci was transmitted as

759-539: The Fair Saint-Laurent on 19 August with verses for the ariettes provided by Pierre Baurans and with music parodying a variety of composers including Vincenzo Legrenzio Ciampi , Duni, Baldassare Galuppi , and Giuseppe Scarlatti , and also included music attributed to the French composers Jean-Louis Laurette and Philidor. Christoph Willibald Gluck was later to compose his own music for the work. His version

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828-769: The Intermezzo from Cavalleria rusticana in the United States was as the theme for a regular radio broadcast, Symphony of the Rockies, which featured "a small string group playing light classical music" in the 1930s and 1940s over Denver radio station KOA , then owned and operated by the NBC network. It "was a 'feed' to the entire network from the KOA studios." Apart from video recordings of live performances, there have been several cinematic versions of Cavalleria rusticana ,

897-529: The Law of 1791 which removed restrictions on the opening of theatres, there was competition with the Théâtre Feydeau , which was resolved in 1801 by merger. By 1807 Napoleon had reduced theatrical freedoms, and the Opéra-Comique was named one of four primary theatres in Paris. French opéra comique , in the 19th century at least, was not necessarily "comic" either in the classical sense of ending happily or

966-800: The Lenox Lyceum, directed by Oscar Hammerstein . The opera received its first performance at the Metropolitan Opera on 30 December 1891 in a double bill with a fragment of Gluck 's Orfeo ed Euridice , and has since received over 700 performances there. The opera was played during the 1920s in African-American theaters in Chicago. For example, the Vendome, featuring the orchestra of Erskine Tate , played music from this opera. Notably, Louis Armstrong performed and memorized

1035-461: The Milanese music publisher Edoardo Sonzogno 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 which 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. Mascagni heard about the competition only two months before

1104-635: The Opéra-Comique also offers relayed performances to cinemas (around France and in Europe); Carmen in June 2009 and Béatrice et Bénédict in March 2010. In 2013 an opera critic was moved to write that of Paris lyric theatres "over the past seven seasons, [the Opéra-Comique] has best succeeded in establishing a particular identity and achieving consistent quality in its productions". In the summer of 2015

1173-524: The Opéra-Comique company settled in the second Salle Favart (architect Louis Charpentier; 1,500 seats), built on the site of the first theatre, destroyed by fire in 1838. The new house was inaugurated with a revival of Hérold's Le Pré aux clercs . During the 1850s and 1860s the Théâtre Lyrique offered competition in the type of repertoire staged, being particularly strong in its policy of new commissions. Performances took place on most evenings of

1242-449: The Opéra-Comique during its history have included the following works which have each been performed more than 1,000 times by the company: Cavalleria Rusticana , Le chalet , La dame blanche , Le domino noir , La fille du régiment , Lakmé , Manon , Mignon , Les noces de Jeannette , Le pré aux clercs , Tosca , La bohème , Werther and Carmen , the last having been performed more than 2,500 times. Since

1311-578: The Opéra-Comique, of which 222 were either world premieres (136) or the first performance in Paris (86). In June 1936 a broadcast of Les Contes d'Hoffmann was disrupted by the start of a company sit-in demanding the director's resignation. In 1939 financial problems resulted in the Opéra-Comique being merged with the Opéra to become the 'Réunion des Théatres Lyriques Nationaux'. Notable premieres during this period included Poulenc's Les Mamelles de Tiresias (1947) and La Voix humaine (1959). However, by

1380-607: The Opéra. Although the company of the Opéra-Comique was disbanded (followed 20 years later by the closure of the opéra comique classes at the Paris Conservatoire ), from 1978 works were staged again at the theatre, both from its traditional repertoire ( Le médecin malgré lui and Werther ) as well as more adventurous repertoire: La chatte anglaise in 1984, Denisov's L'Écume des Jours , as well as productions with international stars, including Jessye Norman as Dido in 1984. While still battling for survival

1449-463: The Salle Favart on 25 May 1887 resulted in the death of 84 people by asphyxiation. The building was destroyed and the director Léon Carvalho was forced to resign, although later he was acquitted of blame and resumed the helm at the company from 1891 to 1897. The third Salle Favart (architect Louis Bernier ) was officially opened in the presence of President Félix Faure on 7 December 1898. As

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1518-777: The Teatro Costanzi, where it premiered on 9 April 1890. In the 1907 Sonzogno competition, Domenico Monleone submitted an opera based on the story, and likewise called Cavalleria rusticana . The opera was not successful in the competition but premiered later that year in Amsterdam and went on to a successful tour throughout Europe, ending in Turin. Sonzogno, wishing to protect the lucrative property which Mascagni's version had become, took legal action and successfully had Monleone's opera banned from performance in Italy. Monleone changed

1587-480: The affair and begs Alfio to stop, but to no avail. The square is empty as the orchestra plays the famous Intermezzo . The villagers come out of the church. Turiddu is in high spirits because he is with Lola, and Santuzza appears to have gone. He invites his friends to his mother's wine shop where he sings a drinking song, "Viva, il vino spumeggiante" ("Hail to the bubbling wine!"). Alfio joins them. Turiddu offers him wine, but he refuses it. All understand that trouble

1656-424: The attention of the arts establishment. At the start of the 1960s Stéphane Wolff, claimed that the theatre could regain its independence: "well-managed, it could again become what it was for so long, the most active and therefore the leading lyric stage in France". However, in 1972 the Opéra-Comique company was closed (although the theatre itself received visiting productions) and its government grant added to that of

1725-623: The church is heard singing the " Regina coeli ." Outside, the villagers sing an Easter Hymn, "Inneggiamo, il Signor non è morto" ("Let us sing hymns, the Lord is not dead," or "We rejoice that our Saviour is living!" in the English version) joined by Santuzza. The villagers enter the church, while Santuzza and Lucia remain outside. Lucia asks Santuzza why she signalled her to remain silent when Alfio said that he had seen Turiddu that morning. Santuzza exclaims, "Voi lo sapete" ("You well know") and tells Lucia

1794-559: The closing date and asked his friend Giovanni Targioni-Tozzetti, a poet and professor of literature at the Italian Royal Naval Academy in Livorno , to provide a libretto. Targioni-Tozzetti chose Cavalleria rusticana , a popular short story (and play) by Giovanni Verga , as the basis for the opera. He and his colleague Guido Menasci set about composing the libretto, sending it to Mascagni in fragments, sometimes only

1863-433: The differences between opéra and opéra comique faded, the two main houses in Paris came more into competition, although the Salle Favart saw the premieres of more innovative works: Debussy's Pelléas et Mélisande (1902), Dukas' Ariane et Barbe-bleue (1907), Ravel's L'heure espagnole (1911), and French premieres of works by Puccini and Falla. Between 1900 and 1950, 401 works by 206 different composers were performed at

1932-538: The distance and a woman cries, "They have murdered Turiddu!" Santuzza faints and Lucia collapses in the arms of the women villagers. Mascagni calls for a standard-sized orchestra consisting of 2 flutes , 2 piccolos , 2 oboes , 2 clarinets , 2 bassoons , 4 horns , 2 trumpets , 3 trombones , tuba , timpani , percussion ( triangle , cymbals , bass drum , side drum , tamtam , tubular bells ), 2 harps , organ and strings . There have been over 100 full-length recordings of Cavalleria rusticana published since it

2001-516: The end of the Second World War, the Opéra-Comique's best artists, assets and repertory had been gradually taken from it to enrich the Opéra. The Opéra-Comique discovered some fresh energy in 1950s, restaging Roméo et Juliette , Orphée et Eurydice , Le roi malgré lui and Les noces de Jeannette and introducing Bluebeard's Castle , Landowski's Les Adieux and Dallapiccola 's Volo di Notte to attract new audiences and keep

2070-621: The establishment in 1672 of King Louis XIV 's Académie royale de Musique (popularly known as the Opéra) under Jean-Baptiste Lully , the use of music by fair troupes was significantly curtailed. When the Italian players at the Hôtel de Bourgogne were banished from Paris in 1697 for performing their comedy La fausse prude ("The False Prude"), which satirized the King's wife, Madame de Maintenon ,

2139-522: The fair theatres were quick to adopt much of the Italians' repertory, which included parodies of operas and tragedies. The fair theatres were soon viewed as competition by the Opéra and the Comédie-Française , and restrictions were again more strictly enforced. The troupes at the Foire Saint-Germain and the Foire Saint-Laurent received warnings from the police in 1699 and 1706. Although in 1708

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2208-481: The fairground entrepreneurs Charles Alard and Maurice were able to purchase from the Opéra's director Pierre Guyenet the right to use singers, dancers, musicians, and sets, this did not last as Guyenet died in 1712, leaving the Opéra with a debt in the neighborhood of 400,000 livres. Alard resorted to giving silent performances with the actors' speeches displayed to the audience on large cue cards. The players next tried including vaudeville airs via audience participation:

2277-407: The final three: Niccola Spinelli 's Labilia , Vincenzo Ferroni  [ it ] 's Rudello , and Mascagni's Cavalleria rusticana . There have been two other operas based on Verga's story. The first, Mala Pasqua! (Bad Easter!) by Stanislao Gastaldon , was entered in the same competition as Mascagni's. However, Gastaldon withdrew it when he received an opportunity to have it performed at

2346-657: The first broadcast by New York City's Metropolitan Opera on 11 December 1910. Radio pioneer Lee de Forest talked Giulio Gatti-Casazza , the Met manager, into sending the program over the airwaves by using a backstage radio transmitter and a rooftop antenna, "using a long fishing pole for his mast." Enrico Caruso and Emmy Destinn were in the leading roles. Few listened. There were no radios. But public receivers had been set up in several well-advertised locations in New York City, and people could catch at least an inkling of

2415-642: The first performances of such important French works as Berlioz's The Damnation of Faust (1846), Thomas' Mignon (1866), and Bizet's Carmen (1875). In the latter part of the century the theatre revived works it had made its own, restaged works from the repertoire of the Théâtre Lyrique (which had closed in 1872) and premiered new pieces, such as Offenbach's Les Contes d'Hoffmann (1881); Delibes' Lakmé (1883); Massenet's Manon (1884), Esclarmonde (1889), and Werther (French premiere in 1893); and Charpentier's Louise (1900). A fire at

2484-559: The first to present the opera in that country. Cavalleria rusticana finally had its American premiere in Philadelphia at the Grand Opera House on 9 September 1891, followed by a performance in Chicago on 30 September 1891. The opera premiered in New York City on 1 October 1891, with two rival performances on the same day: an afternoon performance at the Casino, directed by Rudolph Aronson , and an evening performance at

2553-2307: The following list is compiled from Wild, Levin, and Wolff. 1829–1830 Paul-Auguste Ducis 1830, July – 5 August, Jean-François Boursault, Alexandre Huvé de Garel 1830–1831 Alexandre Singier 1831–1832 Émile Lubbert 1832, 14 January – 1 June, Émile Laurent 1832–1834 Paul Dutreich 1834–1845 François-Louis Crosnier , Alphonse Cerfbeer (administrator) 1845–1848 Alexandre Basset 1848–1857 Émile Perrin 1857–1860 Nestor Roqueplan 1860–1862 Alfred Beaumont 1862, 1 February – 20 December, Émile Perrin 1862–1870 Adolphe de Leuven , Eugène Ritt 1870–1874 Adolphe de Leuven, Camille du Locle 1874-1876 Camille du Locle 1876-1887 Léon Carvalho 1887, May to December, Jules Barbier 1888-1891 Louis Paravey 1891-1897 Léon Carvalho 1898-1913 Albert Carré 1914-1918 Pierre-Barthélemy Gheusi , Émile and Vincent Isola 1919-1925 Albert Carré, Émile and Vincent Isola 1925-1931 Louis Masson and Georges Ricou 1931-1932 Louis Masson 1932-1936 Pierre-Barthélemy Gheusi 1936-1939 14 member committee presided by Antoine Mariotte 1939-1940 Henri Busser 1941-1944 Max d'Ollone 1944 Lucien Muratore 1944 (Liberation) 4 member committee: Roger Désormière , Pierre Jamin, Louis Musy and Émile Rousseau 1945-1946 Albert Wolff 1946-1948 Henry Malherbe 1948-1951 Emmanuel Bondeville 1952-1953 Louis Beydts 1990-1994 Thierry Fouquet 1994-1999 Pierre Médecin 2000-2007 Jérôme Savary 2007-2015 Jérôme Deschamps 2015-2021 Olivier Mantei . 2021-2026 Louis Langrée 1849-1868 Théophile Tilmant 1868-1876 Adolphe Deloffre 1876 Charles Constantin 1876-1877 Charles Lamoureux 1877-1898 Jules Danbé 1898-1904 André Messager 1904-1906 Alexandre Luigini 1906-1908 François Ruhlmann 1909 Gustave Doret 1910-1913 François Ruhlmann 1914-1919 Paul Vidal 1919-1921 André Messager 1921-1924 Albert Wolff 1924-1925 Désiré-Émile Inghelbrecht 1925-1932 Maurice Frigara 1932-1936 Paul Bastide 1936-1944 Eugène Bigot 1947-1953 André Cluytens Frédéric Blasius Cavalleria Rusticana Cavalleria rusticana ( pronounced [kavalleˈriːa rustiˈkaːna] ; Italian for 'Rustic Chivalry ')

2622-554: The green edges," rendered as "The air is sweet with orange blossoms" in the English libretto) and a hymn to the Blessed Virgin Mary . Some villagers enter the church, and others wander off still singing. Santuzza, having slept with Turiddu and suspecting that he has betrayed her for Lola, is distraught and approaches Lucia as she comes out of her house. Santuzza asks for Turiddu, but Lucia replies that he has gone to another town to fetch some wine. Santuzza tells her that he

2691-414: The king in 1780, although the names Comédie-Italienne and Théâtre Italien were still used frequently by the press and public for many years thereafter. In 1783 the company moved again, into the Salle Favart (architect Jean-François Heurtier ; ca. 1,100 seats) on the site where the current theatre stands. Around that time the works of Grétry featured strongly. With the proliferation of opera houses after

2760-489: The modern one of being funny; the term covered a much wider category of work. Notable composers in the history of the Opéra-Comique include Auber , Halévy , Berlioz and Bizet . After Rossini's arrival in Paris, new works at the Opéra-Comique took in Italian vocal style and techniques, leading to greater virtuosity, although "the repertory as a whole stood as a bulwark against the italianate invasion of Rossini". In 1840,

2829-470: The most notable of which are: Costumed excerpts from the opera are performed in Mario Lanza 's popular films The Great Caruso (1951) and Because You're Mine (1952). The opera's symphonic Intermezzo has figured in the soundtrack of several films, most notably in the opening and closing credits of Raging Bull and in the finale of The Godfather Part III , which also featured a performance of

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2898-525: The music on earphones. The next day, The New York Times reported that static and other interference "kept the homeless song waves from finding themselves." In Los Angeles, an "Italian Night" concert was heard live "in its entirety" on May 6, 1930, as the third program of the Adohr opera series over radio station KFI , featuring "A distinguished cast ... headed by Lisa Roma , noted lyric soprano ... Music lovers should not fail to tune in." A notable use of

2967-456: The music was arranged by Jean-Claude Gillier, and the orchestra consisted of 15 players. Lesage authored many of the early opéras comiques , and composers like Gillier worked primarily as arrangers of existing music. In 1716 one of the troupes' leaders, Catherine Vanderberg purchased additional rights and began to present more original works by authors, such as Jacques-Philippe d'Orneval , Alexis Piron , and Louis Fuzelier . In these early days

3036-438: The musicians would play a popular tune, and the spectators would sing, while the actors remained silent. This was further enhanced when the words began to be displayed to the audience on a large banner. In 1713 and 1714 several of the fair troupes were able to conclude a new series of agreements with the creditors of the deceased Guyenet, who at this point had become the managers of the rather expensive Opéra. For an annual fee

3105-533: The opera had been performed more than 14,000 times in Italy alone. In 1890, following its run of sold-out performances at the Teatro Costanzi, the opera was produced throughout Italy and in Berlin. It received its London premiere at the Shaftesbury Theatre on 19 October 1891 and its Covent Garden premiere on 16 May 1892. American producers vied with each other (sometimes through the courts) to be

3174-402: The opera ‘beyond recognition’, setting the music to a new libretto. In this form it was presented as La giostra dei falchi in 1914. Cavalleria rusticana opened on the evening of 17 May 1890 at the Teatro Costanzi in Rome to a half empty house. However, the audience included not only the most authoritative music critics in the country but also Queen Margherita , a great music lover. It was

3243-420: The popular Mistinguett who sang one of his best-known songs "Mon Homme" (" My Man ") (1920). In 1968, it was sung by Barbra Streisand in the film Funny Girl . He composed several other pieces for Mistinguett, including "En douce" (1920), "La Java" (1922), "J'en ai marre" (1922) and "La Belote" (1925). In the 1920s, he began to compose operettas, 18 in all; his satirical “Ta Bouche” (Your Mouth, 1922) of 1922

3312-417: The role of librettist for the theatre was more important than that of the composer – and pre-eminent among them for more than forty years was Charles-Simon Favart , who made his first contribution in 1734 and achieved his first important success with La chercheuse d'esprit in 1741. In 1743 the impresario Jean Monnet paid 12,000 livres to the Opéra for the right to run the Opéra-Comique, He renovated

3381-544: The song "La môme Caoutchouc" 1992). Some of these works are: He has also rendered 100 dance and dance songs. Op%C3%A9ra-Comique The Opéra-Comique is a Paris opera company which was founded around 1714 by some of the popular theatres of the Parisian fairs . In 1762 the company was merged with – and for a time took the name of – its chief rival, the Comédie-Italienne at the Hôtel de Bourgogne . It

3450-458: The story of her seduction by Turiddu and his affair with Lola. Lucia pities Santuzza, who feels dishonoured, having been seduced by Turiddu only to be abandoned by him for his old flame, Lola. Santuzza feels she cannot enter the church, but begs Lucia to go inside herself and pray for her. Santuzza stays behind to try to plead with Turiddu to leave Lola and return to her. Turiddu arrives. Santuzza upbraids him for pretending to have gone away, when he

3519-653: The theatre and brought together a group of highly talented creative artists, including, besides Favart, who also worked as a stage director, the comedian Préville , the stage designer François Boucher , and the ballet master Dupré and his pupil Jean-Georges Noverre . Jean-Philippe Rameau may also have been the leader of the orchestra. The company was, however, too successful, and the Opéra refused to renew Monnet's privilege in 1745. After working briefly in Lyon, and mounting unsuccessful productions in Dijon (1746) and London (1749), he

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3588-560: The theatre closed for 18 months for major refurbishment including the costume department, the salle Bizet, and the hall Boieldieu. During the closure a webopera and a fan zone at the UEFA Cup where spectators were invited to sing well-known opéra-comique songs took place. After the works, the theatre reopened in 2017, with the first stage production since the composer's death of Marais's Alcione (on 25 April 2017) with Jordi Savall conducting Le Concert des Nations . The information in

3657-450: The theatre hosted one of the major baroque revivals: Atys , with Les Arts Florissants in 1987. The company regained its autonomy and returned, albeit with an inadequate budget, to the Salle Favart in 1990. Although its budget amounted to less than most provincial French opera houses, the first new director of the independent Opéra-Comique, Thierry Fouquet, attempted to run a balanced programme but handed over in 1994 to Pierre Médecin, who

3726-432: The troupes obtained the right to perform light comedies interspersed with songs and dances and to use sets and theatre machines. They were also given the right to use the name "Opéra-Comique". The first work officially given that designation was Télémaque (a parody of the opera by André Cardinal Destouches ), which was first performed by the Théâtre de la Foire Saint-Germain in 1715. The words were by Alain-René Lesage ,

3795-448: The trumpet solo, coming out of the pit and mounting the stage to play it. Before the action takes place, the young villager Turiddu returns from military service to find out that his fiancée Lola had married the carter Alfio while he was away. In revenge, Turiddu seduced Santuzza, a young woman in the village. As the opera begins, Lola, overcome by her jealousy of Santuzza, has begun an adulterous affair with Turiddu. The main square of

3864-493: The village Offstage, Turiddu is heard singing a siciliana , "O Lola ch'ai di latti la cammisa" ("O Lola, you whose blouse is as white as milk," commonly rendered in English as "O Lola! like the snow, pure in thy whiteness!"). To one side is the church; to the other is Lucia's wine shop and the house where she lives with her son, Turiddu. The villagers move about the square, singing of the beautiful spring day, "Gli aranci olezzano sui verdi margini" (literally, "Oranges smell good on

3933-470: The week except for major festivals. Boxes could be hired for a year at a time, and many subscribers were wealthy. Before 1848 a third of subscribers were of the aristocracy, but after then it became an especially middle class theatre. After 1848 Émile Perrin sought to revive the repertoire with more literary and ambitious works. Until 1864 its repertoire was still prescribed, by statute, to have spoken dialogue between musical numbers. The Opéra-Comique staged

4002-465: Was a particular success. The sequels which followed were the "Pas sur la Bouche" (Not on the Mouth, 1925) and the "Bouche a Bouche" (Mouth to Mouth, 1925) and both further established the musical virtuosity of Yvain; the former song rendered by Regine Flory made her also a celebrity. Thereafter, he also wrote great sentimental operettas such as "Chanson gitane" ("Gypsy Song"), many of which were performed at

4071-468: Was able to repurchase the Opéra-Comique privilège in December 1751 and remained its director until 1757. During his second period as director, Monnet continued to work with Favart and Noverre, and Boucher designed and built a substantial new theatre for the company of the Foire Saint-Laurent in 1752. The theatre was later installed in a wing of the Hôtel des Menus-Plaisirs on the rue Bergère, where it

4140-438: Was actually original, composed by Antoine Dauvergne , and began a period of new works in a more Italian style in which music played a much more significant role. Composers for the company during this period included Egidio Duni , François-André Danican Philidor and Pierre-Alexandre Monsigny . The dramatist Michel-Jean Sedaine wrote the text of his first opera for the company, Le diable à quatre , in 1756. It premiered at

4209-474: Was actually seeing Lola. Lola enters the square singing. She mocks Santuzza and goes inside the church. Turiddu turns to follow Lola, but Santuzza begs him to stay. Turiddu pushes her away. She clings to him. He loosens her hands, throws her to the ground, and enters the church. Alfio arrives looking for Lola. Santuzza tells him that his wife has betrayed him with Turiddu. Alfio swears to take vendetta (revenge) which causes Santuzza to repent for having disclosed

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4278-525: Was also called the Théâtre-Italien up to about 1793, when it again became most commonly known as the Opéra-Comique. Today the company's official name is Théâtre national de l'Opéra-Comique , and its theatre, with a capacity of around 1,248 seats, sometimes referred to as the Salle Favart (the third on this site), is located at Place Boïeldieu in the 2nd arrondissement of Paris , not far from

4347-551: Was first given in Laxenburg, Austria, on 28 May 1759. Other settings were later composed for the Opéra-Comique by Bernardo Porta (14 February 1790) and Jean-Pierre Solié (30 November 1809). On 3 February 1762 the Opéra-Comique was merged into the Comédie-Italienne and occupied the Hôtel de Bourgogne , gaining in respectability what it lost in independence. The company was renamed to Opéra-Comique by an edict of

4416-426: Was first recorded in Germany in 1909. As in live performances of the opera, recordings of the work have often been paired with Ruggero Leoncavallo 's Pagliacci . In addition to the original Italian, recordings of the work in the English, French, German, and Hungarian languages have been released. Mascagni himself conducted the opera in two recordings, the better-known of which is the 1940 EMI recording made to mark

4485-428: Was his first opera to be completed and performed. It remains the best known of his fifteen operas and one operetta ( Sì ). Apart from Cavalleria rusticana , only Iris and L'amico Fritz have remained in the standard repertory, with Isabeau and Il piccolo Marat on the fringes of the Italian repertoire. Its success has been phenomenal ever since its first performance. At the time of Mascagni's death in 1945,

4554-612: Was presented over a hundred times. Thanks to his success in the United States, several of his pieces appeared in the famous Ziegfeld Follies on Broadway . His "Mon Homme" featured in the 1936 MGM Academy Award -winning film The Great Ziegfeld . He composed music for several films of notable directors such as Anatole Litvak , Julien Duvivier and Henri-Georges Clouzot . Yvain died in 1965 in Suresnes , near Paris. Maurice Yvain's "Catalog of Works" consisted of 25 soundtracks, 21 titles as composer, one title of Indochine (composer of

4623-596: Was responsible for the centenary season in 1998 with a new production of Pelléas et Mélisande . The loss of private sponsors led to a policy of musical comedy and operetta under Jérôme Savary from 2000. A decree of November 2004 put the theatre on a new basis, stressing the variety of productions it should mount: "de l'opéra baroque à la création contemporaine et le patrimoine de l'Opéra-Comique". It currently mounts 7 or 8 operas or opéra comiques (some of them co-productions), with complementary concerts, recitals and exhibitions, each season. In common with many other opera houses

4692-515: Was seen during the night in the village. Lucia asks her inside to talk, but just at that moment, Alfio arrives on his wagon, accompanied by the villagers. He praises the joys of a teamster 's life and the beauty of Lola his bride. Alfio asks Lucia for some of her fine old wine. She tells him it has run out and Turiddu has gone away to buy more. Alfio replies that he had seen Turiddu early that morning near his cottage. Lucia starts to express surprise, but Santuzza stops her. Alfio leaves. The choir inside

4761-549: Was used by the Opéra in 1781, and then as the first concert hall of the Paris Conservatory , which was founded on the same site in 1795. The new theatre was especially important, as it enabled the company to perform at times when the fair was not in operation. Monnet's friend Jean-Joseph Vadé wrote the libretto for Les troqueurs , first staged in July 1753 and advertised as a translation of an Italian work. The music

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