Cavalleria Rusticana / Pagliacci - Schedule, Program & Tickets

Cavalleria Rusticana / Pagliacci

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16.09.2019 , Monday

19:30 

B

Deutsche Oper, Bismarckstraße 35, 10627 Berlin, Germany

It may be reassuring to know that the tears shed on the stage are false, that the feelings are only played and the pain is not really suffered by the performers. But reassurance is not the job of the young Italian composers on the eve of the twentieth century; on the contrary, they wanted to shake up the spectators, draw them into the maelstrom of emotions, take them by surprise with the comic and tragic twists that their stories taken from life to take. ...

Availability: In stock

Product Name Price Qty
Cavalleria Rusticana / Pagliacci (Kategorie 1)
€115.00
Cavalleria Rusticana / Pagliacci (Kategorie 2)
€95.00
Cavalleria Rusticana / Pagliacci (Kategorie 3)
€67.00
Cavalleria Rusticana / Pagliacci (Kategorie 4)
€40.00
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It may be reassuring to know that the tears shed on the stage are false, that the feelings are only played and the pain is not really suffered by the performers. But reassurance is not the job of the young Italian composers on the eve of the twentieth century; on the contrary, they wanted to shake up the spectators, draw them into the maelstrom of emotions, take them by surprise with the comic and tragic twists that their stories taken from life to take.

In the literary movement of the 'verismo' [derived from 'il vero' = the true / the truth], they found their request preformed, and it is only logical that Pietro Mascagni chose as a model for his first novel a novella by its main representative Giovanni Verga , Cavalleria rusticana [the German title is: Sicilian farmer's apprenticeship] had already proven its stage suitability in a dramatization, which was also shown in Mascagni's hometown Livorno. In 1880, the story was published in the Vita dei campi collection, which is actually life in the country, but because of the author's origin in the German translation but mostly Sicilian village stories is called.

Mascagni effortlessly won the composer's competition with his debut, which the publisher Sonzogno had written out for opera in 1888/89. The extremely successful premiere in the Roman Teatro Costanzi on 17 May 1890 may be considered as the birth of the musical 'verismo'.

Two years later, Ruggero Leoncavallo wrote the short opera PAGLIACCI with the famous prologue. The German title DER BAJAZZO correctly puts the main character in the singular, the majority in the Italian original was enforced by the famous singer Victor Maurel, who had to sing as Tonio the prologue and whose role would otherwise not have appeared in the title of the work.

The sung prologue contains the credo of the 'verismo': "The artist is a human being and must write for people. [...] We are flesh-and-blood human beings and we breathe the breath of this lost world just as you do. "Leoncavallo's dialectical artifice is that in his story, which resembles a newspaper's" mixed news ", tragedy escalates, because the actor of the Bajazzo is no longer able to separate play and earnestness.

The combination of these two culmination points of the musical "verismo" for a double evening, in English with the abbreviation CAV & PAG provided, has been naturalized since the beginning of the 20th century. Like twins they are alike and could not be more different: the overture is interrupted by singing, an interlude connects the two acts [yes, of course CAVALLERIA RUSTICANA is also a two-act, only the conditions of competition demanded that on the title page, in one act ' stands], Southern Italian ambience in the presence of the authors, genre scenes of the choirs with description of orange fragrance or church bells. Otherwise, however: late blossoming of Belcanto at Mascagni, leitmotifs and diverse orchestral effects in Leoncavallo, dominance of the church and the narrow-minded morality almost like Garcia Lorca here and full life with desire for distraction there.

Subject to change.