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.

In the next scene Santuzza tells her sad story to Lucia, Turridu's
mother, in a romanza of great power ("Voi lo sapete"), closing with an
outburst of the highest significance as she appeals to Lucia to pray
for her. In the next scene Turridu enters. Santuzza upbraids him, and
a passionate duet follows in which Santuzza's suspicions are more than
confirmed by his avowal of his passion for Lola. The duet is
interrupted by a song of the latter, heard in the distance with harp
accompaniment ("Fior di giaggiolo"). As she approaches the pair the
song grows livelier, and at its close she banters poor Santuzza with
biting sarcasms, and assails Turridu with all the arts of coquetry.
She passes into the church, confident that the infatuated Turridu will
follow her. An impassioned duo of great power follows, in which
Santuzza pleads with him to love her, but all in vain. He rushes into
the church. She attempts to follow him, but falls upon the steps just
as Alfio comes up. To him she relates the story of her troubles, and
of Turridu's baseness. Alfio promises to revenge her, and another
powerful duet follows.

As they leave the stage, there is a sudden and most unexpected change
in the character of the music and the motive of the drama. In the
place of struggle, contesting passions, and manifestations of rage,
hate, and jealousy ensues an intermezzo for orchestra, with an
accompaniment of harps and organ, of the ut