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Opera in one act by Pietro Mascagni
libretto by Giovanni Targioni-Tozzetti and Guido Menasci
from a play by Giovanni Verga
Santuzza Ildiko Komlosi
Lola Sarah Punga
Turiddu Zoran Todorovich
Alfio Carlos Almaguer
Lucia Maria José Trullu
Opera in a prologue and two acts,
written and composed by Ruggero Leoncavallo
Nedda / Colombina Susanna Branchini
Canio / Il pagliaccio

Giuseppe Giacomini
Francesco Anile (July 9)

Tonio / Taddeo Carlos Almaguer
Beppe / Arlecchino Amedeo Moretti
Silvio Fabio Previati
Primo contadino Pietro Luppina
Giacomo Patti
Secondo contadino Gianfranco Barcia
Riccardo Schirò
Conductor Donato Renzetti
Director Lorenzo Mariani
Scenes and costumes Designs Maurizio Balò
Coreographer Luciano Cannito
Lighting Guido Levi

Assistant Scene Designer

Antonio Cavallo
Assistant Coreographer Luigi Neri

A Teatro Massimo production

Teatro Massimo Orchestra, Chorus, Youth Chorus and Ballet
Chorus Master Andrea Faidutti
Youth Chorus Master Salvatore Punturo
Click on any photograph you wish to see enlarged

Photographs Franco Lannino © Studio Camera


More videos from the Teatro Massimo
Sunday 05/07/2009 9.15 pm Premiere
Tuesday 07/07/2009 9.15 pm Turni D / F
Thursday 09/07/2009 9.15 pm Turni B / C

Cavalleria rusticana
Easter dawns in a Sicilian village
Turiddu is heard in the distance singing about Lola, wife of the prosperous carter Alfio (“O Lola, bianca come fior di spino”). Townsfolk and fieldworkers mingle in the piazza, then disperse. Santuzza approaches Mamma Lucia’s tavern looking for her son Turiddu; the old woman says he is away buying wine. Alfio arrives with his friends, boasting of his horses — and of his new wife, Lola (“Il cavallo scalpita”). He leaves as the villagers follow a procession to mass. Santuzza, who is unwilling to enter the church, stays behind to tell Mamma Lucia that Turiddu has abandoned her for his old flame, Lola (“Voi lo sapete”). The old woman leaves for mass, and Santuzza confronts Turiddu (“Tu qui, Santuzza?”). Lola saunters in, infuriating Santuzza with her brazen arrogance. Lola enters the church, and Santuzza resumes her pleading, but Turiddu refuses to listen. Pushing her to the ground, he runs into the church. Santuzza curses him. When Alfio arrives, Santuzza reveals that his wife has been cheating on him. Alfio swears to get even and rushes off, followed by the now conscience-stricken Santuzza. The villagers exit the church and join Turiddu in a drinking song (“Viva il vino spumeggiante”), but the atmosphere becomes tense when Alfio appears, insulting Turiddu and challenging him to a knife fight. Turiddu admits his guilt but will go through with the fight, for Santuzza’s sake as well as for honor. Alone with his mother, Turiddu thanks her for the wine and begs her to take care of Santuzza if he doesn’t come back (“Mamma, quel vino”). As Mamma Lucia waits anxiously in the piazza, shouts are heard in the distance. A woman runs in screaming that Turiddu has been killed.


Before the opera begins, Tonio steps before the curtain to announce that the author has written a true story.

Villagers gather around a small theatrical company that has just arrived. Canio, the head of the troupe, describes the night’s offerings. When one of the villagers suggests that Tonio is secretly courting Canio’s wife, Nedda, Canio warns that he will tolerate no flirting off stage. Vesper bells call the women to church and the men to the tavern, leaving Nedda alone. Disturbed by her husband’s jealousy, she envies the freedom of the birds in flight. Tonio tries to force himself on her. She beats him back, and he swears revenge. In fact, Nedda does have a lover, Silvio, who persuades her to run away with him after the performance. Tonio overhears this and hurries off to tell Canio. The jealous husband bursts in on the guilty pair, but Silvio runs away before Canio can identify him. Nedda, even when threatened with a knife, refuses to reveal the man’s name. Beppe, another clown, restrains Canio, and Tonio advises him to wait until the evening’s performance. Alone, Canio bitterly reflects that he must play the clown while his heart is breaking.

The villagers and Silvio, assemble to see the commedia. Harlequin (Beppe) serenades Columbina (Nedda) and dismisses her buffoonish servant Taddeo (Tonio). The two lovers dine together and plot to poison Columbina’s husband Pagliaccio (Canio), who soon arrives. Harlequin slips away. Taddeo assures Pagliaccio of his wife’s innocence, which ignites Canio’s jealousy. Forgetting the play, he demands Nedda tell him the name of her lover. She tries to continue with the play, the audience enthralled by its realism. Enraged, Canio stabs Nedda. Tonio announces to the horrified villagers that the comedy is ended.