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Cavalleria Rusticana
It's to Covent Garden's credit that they knew when to elevate homegrown talent. Pauline Tinsley delivers a Santuzza for the ages, alternating searing emotional outbursts with passages of extraordinary delicacy—an achievement rare in the verismo repertoire. Gianfranco Cecchele lends sweetness and charm to Turiddu, rounding out a compelling pair of leads.
Track List
1. O Lola ch'ai di là la cammisa
2. Gli aranci olezzano
3. Dite, mamma Lucia...
4. Il cavallo scalpita
5. Regina coeli laetare
6. Voi lo sapete
7. Tu qui, Santuzza?
8. No, no, Turiddu, rimani ancora
2. Gli aranci olezzano
3. Dite, mamma Lucia...
4. Il cavallo scalpita
5. Regina coeli laetare
6. Voi lo sapete
7. Tu qui, Santuzza?
8. No, no, Turiddu, rimani ancora
9. Oh! Il Signore vi manda compar Alfio
10. Comare Santa, allor grato vi sono
11. Intermezzo
12. A casa, a casa, amici
13. Viva il vino spumeggiante
14. A voi tutti salute!
15. Mamma, quel vino è generoso
16. Santuzza!... Oh! madre mia!
10. Comare Santa, allor grato vi sono
11. Intermezzo
12. A casa, a casa, amici
13. Viva il vino spumeggiante
14. A voi tutti salute!
15. Mamma, quel vino è generoso
16. Santuzza!... Oh! madre mia!
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4.0
Based on 1 review
✓ Top Reviewer
United States
Exciting Performance in Good Sound!
This was another performance in the Cav/Pag run at Covent Garden in 1976 (the earlier one with Domingo is also available from Opera Depot and is equally good). Tinsley lives up to her reputation as a passionate, committed singing actress with her Santuzza. There are others who are more Italianate or outwardly demonstrative, but Tinsley gives Santuzza a nobility that she often doesn't have. She sings rather than screams "Bada!" and ends the opera on a huge top C.Cecchele was often seen as a second stringer in an era where Italian tenors of his type were more plentiful than they are now. His voice is not quite as buttery as Domingo's, yet he's more specific in his characterization. Mastromei is a great Alfio, ending his opening song on a high A (the Covent Garden audience is not impressed) and Heather Begg is a first-rate Mama Lucia. Gillian Knight's very distinctive voice is heard as Lola (she adds some bitchy giggles too). I have to hand it to the actress who ends the opera with the "Hanno ammazzato" line: she brings the opera to a hair-raising conclusion! Stapleton conducts a very effective, exciting performance of this old war horse. The tapist was placed a little too close to the brass, but the voices come through well enough. I wonder who was in the Pagliacci (Domingo sang both leads in the previous performance).
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