Musical production Teatro Cervantes de Málaga
Stage production Teatro Villamarta de Jerez de la Frontera and Teatro Principal de Palma de Mallorca

Orquesta Filarmónica de Málaga
Coro de Ópera de Málaga

Stage director Francisco López
Choir director María del Mar Muñoz Varo
Conductor José María Moreno

Drama in a prologue and two acts, with music and libretto by Ruggero Leoncavallo
Premiered on the 21st of May, 1892 at the Teatro dal Verme in Milan
Canio  Alejandro Roy
Nedda  Carmen Solís
Tonio  Dalibor Jenis
Silvio  Carlos Daza
Beppe  Leonardo Sánchez
A peasant  Antonio Burgos
A peasant  Jesús Gómez
Escolanía Pueri Cantores Málaga 
Director Antonio del Pino
1.15 h (w/out intermission)

Opera in one act by Pietro Mascagni to a libretto by Giovanni Targioni-Tozzetti and Guido Menasci, based on the play of the same name by Giovanni Verga
Premiered on the 17th of May, 1890 at the Opera Theatre of Rome
Santuzza  Carmen Solís
Turiddu  Alejandro Roy 
Alfio  Dalibor Jenis
Mamma Lucia  Marina Rodríguez-Cusí
Lola  Cristina del Barrio
1.15 h (w/out intermission)

photo ©Javier Fergo

Hand programme (ESP)

The most interesting element of this opera is that Leoncavallo was the son of a judge, and at a very young age witnessed how his father judged a man for having killed his wife in the middle of a theatrical performance. The child kept the story in his head and as an adult converted it into this masterpiece.

Cavalleria rusticana
Winning first prize in an opera competition allowed Pietro Mascagni to premier his work, which had been composed in just two months, at the Teatro Costanzi in Rome in 1890. It rapidly became famous around the world, setting the bar very high for the musician from Livorno. Cavalleria Rusticana contains some of the most famous moments of the history of opera, including its beautiful Intermezzo.  

Cavalleria rusticana and Pagliacci are of great importance in the 19th century "school of verismo". Both were a success and contain many fragments that belong to the repertoire of opera fans’ favourites. Both operas also marked their composers so deeply that they never achieved the same success again.

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