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Andrew Quint
Fanfare, September 2009

The casts don’t overlap at all, and though the Mascagni doesn’t disappoint, Pagliacci is the more memorable performance, thanks to the alluring—vocally and physically—Nedda of María Bayo and Vladimir Galouzine’s ferocious, yet thoroughly sympathetic Canio.

The Madrid orchestra plays wonderfully under the crisply articulated and affectively potent leadership of Jesús López-Cobos, who continues to impress with his affinity for a wide range of operatic repertoire. © 2009 Fanfare Read complete review

Tom Gibbs
Audiophile Audition, April 2009

The two operettas presented here, Pietro Mascagni’s Cavalleria Rusticana and Ruggero Leoncavallo’s Pagliacci share a remarkable symbiosis; both were written for competitions, and though such works rarely fare well commercially, these two enjoyed such success that they’ve been programmed together now for well over a century! The two works seem to fit particularly well together; in fact, Pagliacci’s Prologue (as is employed here) is frequently used as a preface to both works. Cavalleria Rusticana marked the birth of the last great phase of Italian opera—operatic verismo—in which tales of Italian provincial life became vehicles for stories of earthy vitality and passions that truly tugged at the heart-strings of opera audiences. And Pagliacci came essentially from the headlines of the day—Leoncavallo’s father had been a magistrate judging the factual case on which the opera was based. Both works proved that everyday life can powerfully affect audiences as only elitist opera was previously thought capable of.

Cavalleria Rusticana takes place in a Sicilian village on Easter Sunday. Turiddu is engaged to Santuzza, but brazenly carries on his affair with Lola, a former lover. Santuzza approaches Turiddu’s mother, Mamma Lucia, concerning her son’s indiscretion, and she also tries to persuade Turiddu to leave Lola and be solely faithful to her. Turridu is enraged, and rejects Santuzza’s request. Santuzza then tells Alfio, Lola’s husband, about his wife’s affair, and Alfio subsequently kills Turridu in a knife fight.

Pagliacci involves a company of traveling performers, Tonio, Beppe, Canio and his wife Nedda. The troupe arrives in a new village, and prior to the evening’s show, Tonio tells Canio that Nedda is having an affair with Silvio, a local fellow, and that they plan to leave together that night. The troupe’s play is a farce about infidelity and jealousy, and Canio uses the action to try to get Nedda to reveal the name of her lover. Her contempt for him, and the audience’s laughter at what they think is only part of the show infuriates Canio such that he stabs her with a knife. Silvio, who’s also in the audience, rushes to her aid and is killed as well.

This magnificent disc from Opus Arte serves as a serious reminder what heady times these are for opera lovers—the image clarity and powerful soundtrack employed here are miles beyond anything that was previously available on DVD! The color palette employed is superb, with crisp, detailed images and excellent contrast. Grain is virtually nonexistent. The uncompressed PCM 5.0 soundtrack is also superb, offering a truly enveloping surround experience and presenting Jesus Lopez Cobos and the forces of the Teatro Real Madrid in the finest possible light. I’ve heard a few complaints regarding the clarity of the voices in this soundtrack, but I personally didn’t find anything troubling here. 

As a visual spectacle, this performance is also quite interesting; Cavalleria Rusticana has taken on quite an abstract staging, with most of the sets on a diagonal slant, which requires a bit of an adjustment to fully appreciate the onstage action. Pagliacci returns to a more traditional, but no less visually striking presentation. The performances are uniformly superb; especially Violeta Urmana’s Santuzza and Vladimir Galouzine’s Canio, especially in the aria Vesti La Giubba, where he almost brings down the house. Very highly recommended!

Jeffrey Kauffman
DVD Talk, March 2009

Cavelleria Rusticana deals with two intertwined couples, linked through the amorous yearnings of Turiddu, long in love with Lola, who, upon returning from battle, discovers she has wed someone else. He then takes up with Santuzza, but Lola lures him back with her siren call. Cav is short (one act), and basically a showpiece for Santuzza and Turiddu, with Lola and her cuckolded husband Alfio lending support, along with Turiddu’s mother. The entire piece plays out in “real time,” on Easter Day. This particular staging of Cav is minimalist in the extreme. The set consists of whitewashed rocks that look something akin to Stonehenge after a massive earthquake. All of the cast members are clad entirely in black, giving a stark visual presentation that helps to underscore the bleak emotional terrain that’s being mined.

Pagliacci, by contrast, is supposed to be a colorful circus sideshow, which in and of itself runs counterpoint to the roiling emotional undercurrents which provide the opera with its soaring melodies. This particular production doesn’t exactly capitalize on that propensity, clothing some of the fair goers in drab grays and beiges, but it nonetheless has the emotional vibrancy that’s required to bring the strange dichotomy of “on with the show” playing out against “I want you dead.” Pagliacci ups the ante considerably by layering a “show within a show,” which leads to the climactic scene of revenge. All of the leading players in the opera are part of a Commedia dell’Arte troupe, and Leoncavallo brilliantly weaves together the traditional characters of that idiom within the verismo world of Canio, the cuckolded husband of Nedda. By the time the two are onstage together at the end of the play, both the “audience” onstage who is witnessing the proceedings and the “real” audience watching the opera are perhaps confused by what is “art” and what is “real.” In a way, it tips verismo on its head and sees it through a funhouse mirror, albeit perhaps from a house of horrors.

Leoncavallo wrote Pagliacci as an actual “answer” to Mascagni’s Cavalleria Rusticana. Therefore it’s no surprise the two fit together so effortlessly. In this particular production, that seam is even more tightly sewn as the dead body of Turiddu is carried through the townsfolk who are proclaiming the coming of the Commedia dell’Arte troupe at the head of Pagliacci’s first act. It’s interesting that neither of these composers really experienced anything similar to the substantial success stories these individual operas wrought for them, and it becomes more interesting that the two seem to be forever linked now in operatic tradition.

All of the principals in both of these productions do excellent work. In Cav, Violeta Urmana makes a heartbreaking Santuzza, with a full-bodied voice that reveals her mezzo roots even as she soars stratospherically. Vincenzo La Scola’s Turiddu is a study in duplicity and confusion born of conflicting amorous desires, and La Scola’s beautiful tenor handles Mascagni’s expressive melodies with ease. On the Pag side, the honors obviously go to Vladimir Galouzine as Canio. Following in the footsteps of such famous tenors as Caruso (whose recording of the “pizza” aria—sorry—was one of the first million selling records) and Pavarotti must be a daunting task, but this accomplished Russian doesn’t seem to be too fazed. With a towering upper range, Galouzine pulls every last ounce out of Canio’s torment and ultimate rage. The comedy may be over (to paraphrase Pagliacci’s denouement), but Galouzine seems fated to a long and successful career as one of his generation’s most commanding talents.

Though there’s a spareness to director Giancarlo del Monaco’s staging of these venerable pieces, the emotional content more than makes up for it. “Cav and Pag” may be old friends, as it were, but in these compelling interpretations, they feel refreshingly new and vivid.

The Blu-ray

There’s more than a bit of monochromaticism going on in these operas, which deprives the BD’s 1.78:1 AVC transfer of some pop. That said, this is a sharp and brilliantly well-defined picture, with consistent black levels and superb contrast. Colors perk up, at least a little, on the “Pag” side of things, and there the palette, while restrained, is full-bodied and well saturated.

Both the PCM 2.0 and 5.0 mixes are excellent, if not overwhelmingly immersive. Voices are all reproduced splendidly, covering the incredible ranges of these singers perfectly. The orchestral accompaniments courtesy of the Madrid Symphony under the baton of Jesus Lopez Cobos are clear and well defined, with beautiful reproduction of everything from achingly emotional strings to boisterous brass. Subtitles are available in English, French, German, Spanish and Italian.

Aside from a fairly useless cast gallery, there is a nice interview featurette with director del Monaco, musical director Cobos and four of the principal singers.

Final Thoughts:
“Cav and Pag” are two of the most distinctive operas from the late 19th century, pieces that came to define the verismo movement. If you’re a fan of Italian neo-realism in film and are unfamiliar with this movement that came over a half century previous to it, you may be amazed by the similarities of intent, if not actual content.

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