It’s always fun to discover an opera that was not on one’s radar at all through a compelling new recording. Recently, the recording gods have introduced me to Pietro Mascagni’s Zanetto
Mascagni’s publisher wanted a short opera that could be paired with Cavalleria Rusticana. Mascagni and his librettists, Giovanni Targioni-Tozzetti and Guido Menasci produced a 40 minute work for two singers, modest orchestral forces and a chorus that only makes a wordless contribution in the overture. It takes place outside Florence during the Renaissance and depicts an encounter between a courtesan, Silvia, and a young itinerant minstrel, Zanetto. The libretto was adapted from François Coppée’s play Le passant (The passer-by) which helped propel Sarah Bernhardt to fame in the travesty role of Zanetto. Mascagni kept Zannetto as a trouser role.
The plot is simple. As the opera begins, Silvia reflects on her many admirers, but only loves a young man that she once briefly met. Conveniently, a roving minstrel approaches, and it’s him! However, she recognizes that she should not pursue his love. He tells her that he is looking for the wealthy beauty named Silvia. She does not disclose her identity and advises him to avoid Silvia and sends him away. Silvia cries out in despair as the opera ends.
The opera is mostly an extended duet, but it is effectively structured with variations of tone and intensity. While the work was enthusiastically received at its premiere in Pesaro, later performances at the larger Italian opera houses were not as successful as the work was deemed too modest. Nonetheless, Mascagni brought it to the Metropolitan Opera House with his own orchestra and singers (so it’s not in the archives) on a double bill with Cavalleria. The Times noted that the work could “never become more than a mildly acceptable curtain-raiser.” Still, the work receives the occasional production including one by those intrepid folks at Odyssey Opera in Boston; they also produced a recording.
This performance comes from the Berlin Opera Group (how many opera companies does Berlin have) under the direction of its founder Felix Krieger. He shapes the work well, carefully modulating the emotional temperature through the work as it progresses. The two soloists soprano Narine Yeghiyan (Silvia) and mezzo-soprano Yajie Zhang (Zanetto) are very strong. They sing securely with attractive tone and sensitivity to the contours of the piece. I do wish that both could be a little more incisive in their handling of the text. I will note that Yajie Zhang seems to be embarking on a notable career with an upcoming debut at the Salzburg Easter Festival. I definitely would like to hear her in person. Narine Yeghiyan sings mostly in Berlin, but I have not given up on hearing her live.
