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Siciliani a Toronto Toronto
Four Seasons Centre for the Performing Arts
05/23/2025 -
Pietro Mascagni : Cavalleria rusticana
Marjorie Owens (Santuzza), Russell Thomas (Turridu), Emily Treigle (Mamma Lucia), Andrii Kymach (Alfio), Queen Hezumryango (Lola)
Canadian Opera Company Chorus, Sandra Horst (chorus master), Canadian Opera Company Orchestra, Johannes Debus (conductor)
R. Thomas, M. Owens (© COC)
In the last days of its season, Toronto’s Canadian Opera Company offered a curiosity: Mascagni’s Cavalleria rusticana in a concert version. It’s an odd choice for this action‑packed verismo opera. For many, the main attraction was the announced Santuzza, to be performed by Anna Pirozzi, Italy’s sensational dramatic soprano, heard ici in La Gioconda in Catania. However, a couple of days before the performance, it was announced that Pirozzi was indisposed, to be replaced by American soprano Marjorie Owens.
Owens is best known for her German repertoire. Heard in Florence as Senta in Der fliegende Holländer, she impressed with her richly powerful voice and winning stage presence. Santuzza is not a role one associates with her, but she was obviously up for the challenge. Her charisma was apparent, even in this concert format. She was affecting in her aria “Voi lo sapete,” where she recounts her seduction by Turridu and his affair with Alfio’s wife, Lola, to her seducer’s mother, Mamma Lucia. She easily conveyed her despair in the dramatic duet with Turridu where she implored him not to abandon her. Her curse “A te la mala Pasqua” was blood curdling, but neither excessive or vulgar, as is often the case.
Though the character of Santuzza is invariably the star of the show, for once the tenor took this mantle. American Russell Thomas is admired for the judicious way he’s managed his career. He’s gradually and unhurriedly progressed from lyric to dramatic tenor, thereby not compromising the longevity of his voice. Recently, he’s added Wagnerian roles to his repertoire, and will surely one day make a fine Parsifal or Siegfried.
His Turridu was vocally strong, yet remarkably elegant, a major accomplishment in verismo, where vulgarity comes easily. Moreover, he had the most convincing diction of the cast, seductively weaving his tender words in the siciliana “O Lola ch’ai di latti la cammisa”, a serenade he sings offstage at the work’s opening. He conveyed his joyfully triumphant attitude in “Viva, il vino spumeggiante”. His arrogance and harshness with Santuzza in their duet was so convincing that one felt truly upset. Finally, he conveyed the foreboding in his farewell to his mother, “Mamma, quel vino è generoso” and his ultimate poetic words to her, “Un Bacio, mamma! Un altro bacio! Addio” were sad and prophetic.
Ukrainian baritone Andrii Kymach was out of his depth as Alfio, though it’s far from a demanding role. Though endowed with a potent baritone, Kymach has little affinity for the Italian language. Rarely have I heard such sloppy delivery; he could have been reading the phone book. As a musician, he may have emulated Tuscan sonorities, but without nuance, displaying but one emotion throughout. The result? He sounded menacing from beginning to end, without a scintilla of difference in intonation, whether singing of his profession (a carter, or teamster) or suspecting his wife of adultery. He was equally disappointing in the bel canto masterpiece I Puritani in Paris earlier this year. He may not be the brightest star, but Johannes Debus ought to have harnessed him. The following day, he was as unimpressive in the title role of Tchaikovsky’s Eugene Onegin.
Despite her young age, American mezzo Emily Treigle had the goods for Mamma Lucia, Turiddu’s mother, namely impressive low notes and amiability. As this was a concert version, make‑up and the usual black garb was not at hand to convey old age. Burundian-Canadian Queen Hezumryango was well‑chosen as the seductress Lola, deftly exuding charm and femininity without excess. Her velvety mezzo contrasted well with Santuzza’s. In most cases, this opera features three mezzos, though here, Santuzza was assigned to a dramatic soprano. It’s important they sound distinct; they were, in this concert version.
The Canadian Opera Company Chorus wasn’t as well‑rehearsed as they should have been. While they sang well, surprisingly there was some sloppiness with their diction, such as when the men’s chorus sang “ci aspettano le nostre DONE,” rather than “donne.” They fared better in the Easter Hymn “Inneggiamo, il Signor non è morto”. Johannes Debus led the Canadian Opera Company Orchestra with gusto, seeming to revel in this verismo score, a repertoire he rarely conducts. It must be said he handled it with panache, reining in the orchestra while preventing the singers (save Kymach) from sliding into vulgarity.
Even if Cavalleria rusticana was an unlikely choice for the “opera in concert” format, the success of this experiment (the house was sold out) will hopefully inspire the C.O.C. to produce an opera in concert once or twice per season. It could be an intelligent way to feature upcoming stars or to present such unfamiliar gems as Bellini’s Beatrice di Tenda or Il pirate, Donizetti’s Maria di Rohan or Caterina Cornaro, or even Rossini’s Ermione or Zelmira. If this eventuated, I’d be there in a heartbeat.
Ossama el Naggar
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