in Europe clamored for the new work.  In a day he had risen from utter obscurity and become world-famous.  His sudden popularity, however, had a pernicious effect, as it induced him to rush out more operas without giving sufficient time to their preparation.  “L’Amico Fritz,” based upon the well-known Erckmann-Chatrian story, and “I Rantzau” quickly followed “Cavalleria Rusticana,” but did not meet with its success.  Last year however he produced two operas at Milan, “Guglielmo Ratcliff” and “Silvano,” which proved successful.  Whether “Cavalleria Rusticana” is to remain as his only hold upon popular favor, the future alone can tell; but that he has talent of the highest order, and that he has produced an opera whose reception has been almost unparalleled in the world of music cannot be questioned.

CAVALLERIA RUSTICANA.

“Cavalleria Rusticana,” an opera in one act, words by Signori Targioni-Tozzetti and Menasci, music by Pietro Mascagni, was written in 1890, and was first performed at the Costanzi Theatre in Rome, May 20, of that year, with Gemma Bellinconi and Roberto Stagno in the two principal roles.  It had its first American production in Philadelphia, Sept. 9, 1891, with Mme. Kronold as Santuzza, Miss Campbell as Lola, Guille as Turridu, Del Puente as Alfio, and Jeannie Teal as Lucia.

The story upon which the text of “Cavalleria Rusticana” is based is taken from a Sicilian tale by Giovanni Verga.  It is peculiarly Italian in its motive, running a swift, sure gamut of love, flirtation, jealousy, and death,—­a melodrama of a passionate and tragic sort, amid somewhat squalid environments, that particularly lends itself to music of Mascagni’s forceful sort.  The overture graphically presents the main themes of the opera, and these themes illustrate a very simple but strong story.  Turridu, a young Sicilian peasant, arrived home from army service, finds that his old love, Lola, during his absence has married Alfio, a carter.  To console himself he makes love to Santuzza, who returns his passion with ardor.  The inconstant Turridu, however, soon tires of her and makes fresh advances to Lola, who, inspired by her jealousy of Santuzza, and her natural coquetry, smiles upon him again.  The latter seeks to reclaim him, and, when she is rudely repulsed, tells the story of Lola’s perfidy to Alfio, who challenges Turridu and kills him.

During the overture Turridu sings a charming Siciliana ("O Lola c’hai di latti"), and the curtain rises, disclosing a Sicilian village with a church decorated for Easter service.  As the sacristan opens its doors, the villagers appear and sing a hymn to the Madonna.  A hurried duet follows, in which Santuzza reveals to mother Lucia her grief at the perfidy of Turridu.  Her discourse is interrupted by the entrance of Alfio, singing a rollicking whip-song ("Il cavallo scalpita”) with accompaniment of male chorus.  The scene then develops into a trio, closing with a hymn ("Inneggiamo, il Signor"), sung by the people in the square, and led by Santuzza herself, and blending with the “Regina Coeli,” performed by the choir inside the church with organ accompaniment, the number finally working up into a tremendous climax in genuine Italian style.