The Tartan

Like a lot of people out there, I always assumed that operas were really boring. However, now that I have seen four operas, I have to say that I was wrong. Operas are far from boring. In fact, they are full of drama. The operas “Cavalleria Rusticana” and “Pagliacci,”recently put on by the Benedum are no exception. Described on the front of the program as an “adulterous double feature,” the show left the audience on the edge of their seats. 

I went into this performance not expecting anything. With my limited opera knowledge, I had never heard of either show and didn’t know what they were about. From the minute the curtain came up on “Cavalleria Rusticana,” I was hooked. Even though none of the performers were even onstage, I could tell this was going to be quite the show. The set was gorgeous. It looked like a town in Sicily and I loved how the lighting and background changed according to the intended time of day. For those of you who may not know, “Cavalleria Rusticana” is essentially about a love square. The show opens with a voice singing about how he loves a woman named Lola (played by Audrey Welsh). The voice is Turiddu (played by Rafael Davila), who is heard singing by his wife Santuzza (Eve Gigliotti). Santuzza is clearly distraught upon hearing her husband singing about another woman and she seeks comfort in Turridu’s mother, Mamma Lucia (Marianne Cornetti), who tells her that Turridu was not in town, even though Santuzza saw him. Alfio (Sebastian Catana), Lola’s husband, arrives in the town boasting about his wealth. Later, the town goes to church, but Santuzza remains behind. Turridu arrives and Santuzza confronts him about his affair with Lola, which he denies. Lola then arrives on her way to church and she mocks Santuzza. Turridu follows Lola into church and Santuzza curses him after begging him to stay. Alfio then appears, also being late to mass, and Santuzza tells him everything going on between Lola and Turridu. Alfio swears to get even and then runs off. Some other smaller things happen, but all you really need to know is that the show ends with a woman screaming that Turridu has been killed (presumably by Alfio). 

Needless to say, this was quite the show. And the performers were absolutely incredible. Seriously, the talent on that stage was a sight to behold. One moment that really stuck with me was when Santuzza stopped singing and screamed at Turiddu. In that moment, I could really feel her pain at the betrayal. Something I’ve always loved about musicals is that when there’s nothing left to say, the characters sing. In opera, when there’s nothing left to sing, the characters scream, and that really hits home.

I had the extreme privilege to be able to talk to Audrey Welsh (Lola) during intermission (after all of Cavalleria Rusticana). First of all, I have to say how amazing she is as a person and performer. She got her undergraduate degree at the University of Houston in vocal performance with an additional B.A. in Italian Studies and then went to Rice University for her masters, which she graduated with this past May. She moved to Pittsburgh in September to be a part of the Pittsburgh Opera Resident Artist program. 

“There’s only three female resident artists, and one of the sopranos, Shannon Crowley, just happens to be one of my best friends from grad school.” Audrey went on to say that their relationship kind of set the tone for the production. Everyone was able to feed off of their excitement and energy about being here together. “It’s genuine that we all really love each other,” Audrey said. They put the show together in a week which, according to Audrey, was possible because of the professional environment. Her favorite part about the experience so far has been “getting to share the stage with such seasoned professionals. This is a total dream debut….I feel like I learned so much even just by being in the same room as all those amazing singers and people, and everyone is so kind. So the people have been my favorite part.” In closing, Audrey wanted me to include that she is nothing like her character Lola, but that Lola is the “OG brat” and she is having a “brat Easter” (Cavalleria takes place on Easter). 

The second half of the show was the opera “Pagliacci.” While a different story from “Cavalleria Rusticana,” it’s still full of drama. This show takes place in the same Sicilian village about 50 years later. They show the time difference through small changes in the set, which I thought was really cool. For example, the storefront to a shop that was used in “Cavalleria Rusticana” was boarded up for this show. 

“Pagliacci” follows the story of a small theater company that arrives in the village. Canio (Jonathan Burton), the head of the troupe, advertises a show happening that night to the crowd of villagers. One of the villagers suggests that Tonio (Sebastian Catana), another member of the troupe, is secretly having an affair with Canio’s wife, Nedda (Caitlin Gotimer). The crowd leaves and Nedda is sitting alone thinking about how she wishes she was free when Tonio appears. He tries to force himself on her, but she fights him off and he leaves, swearing to get revenge. Then Silvio (Ricardo Jose Rivera), a peasant in the village and Nedda’s lover, appears. They confirm their love for each other and Silvio asks Nedda to run away with him that night after the show. Tonio overhears their conversation and alerts Canio, but Silvio manages to sneak away before they see him. Canio violently threatens Nedda, but she refuses to reveal Silvio’s name. Beppe (Fran Daniel Laucerica), another member of the troupe, stops Canio from hurting Nedda. Tonio tells Canio to wait until the show to discover who Nedda’s lover is. Canio “gives into his despair” when he is left alone — he has to play the clown in the show even though his heart is broken. 

Act 2 opens with the village gathered to watch the performance including Silvio. The other actors playing the members of the troupe actually did acrobatics and there were people on stilts! Beppe plays Harlequin, who serenades Columbine, played by Nedda. Over dinner, the two lovers make a plan to poison Columbine’s husband Pagliacci, played by Canio. When Pagliacci unexpectedly appears, Harlequin sneaks away. Canio then forgets his role in the show and demands that Nedda tells him the name of her lover. Nedda tries to continue the show, until Canio snaps and stabs Nedda and Silvio, who rushed through the crowd to help her. Turning to the horrified crowd, Tonio announces that the comedy is over and the opera ends. 

This opera had the audience enthralled the entire time. My best friend (who I brought to the show) literally had his jaw dropped throughout the whole performance. The performers were incredible and the acting, as well as their singing, was perfection. I fell in love with the characters and really felt it when they were killed. This whole show is something that I would definitely see again. 

I also can’t forget to mention the incredible orchestra featuring Carnegie Mellon Professor Anne Moskal on Violin. I’m sure these operas were not easy, considering the orchestra was playing the entire time without a break (except for intermission). It’s a very difficult thing to do, but the music never faltered. 

By the time you’re reading this, “Cavalleria Rusticana” and “Pagliacci” will sadly no longer be at the Benedum. However, I highly encourage you to see whatever opera they are putting on next. I guarantee that you will not be disappointed.