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himself. There is not a touch of mysticism about
Rafaele. That she should have confused Gennaro with him, and so have yielded herself to the young blacksmith, does not appeal to him at all. For him she is a plucked rose to be left to wither. Furiously he rejects her, flings her to the ground. The jewels of the Madonna fall from her cloak. They are readily recognized; for they are depicted in the rough fresco on the wall.
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Rafaele curses the girl. At his command, the band disperses. Maliella goes out to drown herself in the sea. "Madonna dei dolor! Miserere!" (Madonna of our pain, have pity), prays
Gennaro. His thoughts revert to his mother. "Deh non piangere, O Mamma mia" (Ah! Weep not, beloved mother mine) . Among the débris he finds a knife and plunges it into his heart.
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Maliella runs in, with the
Camorrists after her. Rafaele is in pursuit, he being the leader of the band, a handsome, flashy blackguard. When he advances to seize and kiss her, she draws out a hat pin. Laughing, he throws off his coat, like a duellist, grasps and holds her tightly. She stabs his hand,
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Maliella rushes out of her house, chased by
Carmela. Maliella is a wilful girl, wanting to be rid of the tyranny of her household and wishing to throw herself into the life of the city. She strikes an attitude of bravado, singing her rebellious thoughts in the "Song of Cannetella,". The crowd gathers
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She descends with her bundle and is ready to leave. Gennaro pleads with her. As if lost in a reverie, with eyes half-closed, she recalls how
Rafaele offered to steal the jewels of the Madonna for her. Gennaro, at first shocked at the sacrilege in the mere suggestion, appears to yield gradually to a
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From the direction of the sea a chorus of men's voices is heard. Rafaele appears at the gate with his
Camorrist friends. To the accompaniment of their mandolins and guitars he sings a serenade to Maliella. The girl comes down into the garden. Then they sing a love duet, she promising that she will
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Carmela tells her son how she vowed to the
Madonna to seek an infant girl, born of sin, and adopt her, in order to help her sickly boy. She sings, "In the open street I found her, and you miraculously recovered." There is a touching duet for mother and son, in which Carmela bids him go and pray to
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The
Camorrists gather. They are men and women, all the latter of doubtful character. There is singing with dancing—the "Apache," the "Tarantelle." Stella, Concetta, Serena, and Grazia, the dancer, are the principal women. They do not anticipate Maliella's expected arrival with much pleasure. When
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Gennaro, who returns at that moment, warns her against
Rafaele—and the men seem about to fight. But then the procession returns, and they all kneel. Rafaele and Maliella exchange looks, as she heads back to the house. He tosses her the flower she has previously despised. She picks it up, puts it
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As the
Madonna is brought past in procession during tolling of bells and cheers from the people, Rafaele pours words of passion into Maliella's ears. The image of the Virgin, bedecked with sparkling jewels—the jewels of the Madonna—is carried past. Rafaele swears that for the love of Maliella he
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Carmela's house, an inn, Biaso's hut, and Gennaro's smithy are visible. It is a lovely afternoon during the festival of the Madonna. Downtown swarms with a noisy crowd, celebrating the event in a carnival spirit. The chorus is divided into many small groups, representing the various parts of the
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Gennaro, who has followed her to the haunt of the Camorrists, enters. He is half mad. Maliella, laughing hysterically, flings the jewels at his feet, shrieking that he stole them for her. The crowd, as superstitious as it is criminal, recoils from both intruders. The women fall to their knees.
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On the left wall a wooden staircase. Under this is a gap in the back wall shut in by a railing. It is late evening. Carmela, having cleared the table, goes into the house. Gennaro starts in to warn Maliella. She says she will have freedom, rushes up the staircase to her room, where she is seen
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In the midst of an uproar of shouting and dancing, while Rafaele, standing on a table, cracks a whip, Maliella rushes in. In an agony she cries out that, in a trance, she gave herself up to Gennaro. The women laugh derisively at Rafaele, who has just sung of her as being inviolable to all but
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Left to herself, she sees Gennaro's open tool box, by moonlight. As if in answer to her presentiment of what it signifies, he appears with a bundle wrapped in red cloth. He throws back the folds of the damask and spreads out on the table, for Maliella, the jewels of the Madonna.
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He goes to a cupboard under the stairs, takes out a box, opens it by the light of the lamp at the table, selects several skeleton keys and files, wraps them in a piece of leather, which he hides under his coat, takes a look at Maliella's window, crosses himself, and sneaks out.
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making it bleed, then throws away the pin. He laughs disdainfully, passionately kisses the wound. There is an extended scene with accepting and rejecting flowers, wearing them, tossing them away. Rafaele heads for the inn – she turns to look at him.
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Rafaele comes in, they ask him what he admires in her. In his answer, "Non sapete... di Maliella" (know you not of Maliella), he tells them her chief charm is that he will be the first man to whom she has yielded herself.
749:"CHICAGO COMPANY SINGS "THE JEWELS"; Rosa Raisa, New Prima Donna, Makes Theatre Ring in Wolf-Ferrari's Opera. HER VOICE OF BEAUTY, TOO Glacomo Rimini, Baritone, Makes His Debut Here as Rafaele;-Mr. Gaudenzl in Tenor Role"
186:. That performance was in German, but now it is usually given in Italian. (Wolf-Ferrari stated that his operas were often first given in German simply because he had a German publisher.)
154:, based on news accounts of a real event. First performed in 1911, the opera's controversial themes include love between a brother and his adoptive sister, implied criticism of the
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In his blacksmith shop, Gennaro is making a candelabra, placing it on the anvil reverentially, as on an altar. He sings "Madonna, con sospiri" (I sigh for you, Madonna).
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would even rob the sacred image of the jewels and bedeck her with them—something so sacrilegious that it would never be considered. The superstitious girl is terrified.
291:, Covent Garden on May 30, 1912 with positive reviews from the English press. However, the work was not favorably received by French critics when it was staged at the
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505:. Maliella and the crowd dance wildly. When Carmela reappears with a pitcher of water on her head, the wayward girl is dashing along the quay joyously laughing.
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The opera was next staged in Chicago for the work's United States premiere and the opera's first performance in the Italian language in January 1912 by the
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is not often performed today though it remains in the repertory. The third act intermezzo was for many years a popular concert piece. It was performed by
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as Maliella; a production which remained in the Met's repertory through 1927. The work was also staged in New York in 1913, this time at the
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On the left wall is a rough fresco of the Madonna, whose image was borne in procession the previous day. In front of it is a sort of altar.
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desperate intention. He bars the way to Maliella, locks the gate, and stands facing her. Laughing derisively, she ascends the stairs again.
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In an ecstasy, Maliella envisions in Gennaro the man who promised her these jewels—Rafaele, and yields herself to Gennaro's embrace.
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the Madonna, and Gennaro asks for her blessing, before he leaves to do so. Carmela then goes into the house.
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putting her things together, while she hums, "E ndringhete, ndranghete" (I long for mirth and folly).
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in the dancing role of Grazia. The company then toured with the production for performances at the
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in Philadelphia later that year, and once again toured with that opera to New York's Met in 1914.
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to hear her. From the direction of the sea comes the approaching chorus of the members of the
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769:"TRAVIATA' SUNG AT CENTURY; San Carlo's Next Week's Operas Include "Jewels of the Madonna.""
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as Maliella, and Giuseppe Gaudenzi as Gennaro; a production which the company brought the
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789:"LIKES 'JEWELS OF MADONNA.'; Wolff-Ferrari's Opera Is Received with Favor in London"
609:. It was issued on CD (Bella Voce #107242). A new recording was released in 2016 by
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709:"JEWELS OF THE MADONNA."; Wolf Ferrari's Opera Given Successfully at the Century"
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and a cast that included tenor Amedeo Bassi as Gennaro, Louise Berat as Carmela,
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729:"'JEWELS OF THE MADONNA.'; Rosa Raisa in Wolf-Ferrari's Opera at the Manhattan"
671:"JEWELS OF THE MADONNA."; Wolf-Ferrari's Musical Drama Sung by Chicago Company"
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join him tomorrow. Then Rafaele's comrades signal that someone is coming.
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town. Many of them end up following a band, which has crossed the square.
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toured the United States with a production of the opera in 1922 starring
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drawing particular praise for her performance as Maliella. In 1918 the
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as Ciccillo, Edmond Warnery as Totonno, Nicolò Fossetta as Rocco, and
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There is an extant recording of the opera, made in 1967, featuring
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as Rafaele. The opera was given in Budapest in 1913, conducted by
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in New York City in 2010. In 2013 it was performed in London at
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A hidden refuge of the Camorrists on the outskirts of Naples
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staged its own original production of the work in 1925 with
899:. Vol. 78. Tutzing: Hans Schneider. pp. 153–154.
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The opera was first staged in the United Kingdom at the
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Conservatorio di Musica Benedetto Marcello di Venezia
314:The opera was given its Italian premiere in 1953.
295:in 1913 with tenor Leon Campagnola as Gennaro and
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326:. The complete opera was revived May 2015 at the
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891:Salib, Prisca (2009). "Ermanno Wolf-Ferrari:
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284:as Maliella and Romeo Boscacci as Gennaro.
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831:, Evanston Illinois, 1994, pages 7 & 9
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989:International Music Score Library Project
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191:Philadelphia-Chicago Grand Opera Company
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630:"Wolf-Ferrari here to hear his operas"
330:, Bratislava, and recorded for Naxos.
205:as Rafaele, Francesco Daddi as Biaso,
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521:between her lips, and flies indoors.
841:Herbert F. Peyser (April 18, 1937).
180:on 23 December 1911 under the title
873:. L'Almanacco di Gherardo Casaglia
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946:The New Grove Dictionary of Opera
340:Roles, voice types, premiere cast
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817:. September 10, 1913. p. 2.
737:. February 4, 1922. p. A16.
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717:. October 15, 1913. p. 11.
679:. February 25, 1914. p. 9.
354:Premiere cast, 23 December 1911
1221:Operas by Ermanno Wolf-Ferrari
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777:. October 4, 1922. p. 20.
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757:. January 25, 1918. p. 9.
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307:staged the opera in 1937 with
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16:Opera by Ermanno Wolf-Ferrari
936:G. P. Putnam. (1919 edition)
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895:. Eine veristische Oper?".
659:. March 6, 1912. p. 8.
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262:Chicago Grand Opera Company
169:was first performed at the
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861:Casaglia, Gherardo (2005).
797:. May 31, 1912. p. 6.
95:23 December 1911
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941:Gioielli della Madonna, I
939:Waterhouse, John C. G., "
905:10.15463/gfbm-mib-2013-86
276:in New York in 1922. The
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928:I gioielli della Madonna
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316:I gioielli della Madonna
231:Metropolitan Opera House
227:Metropolitan Opera House
167:I gioielli della Madonna
158:, and an on-stage orgy.
127:I gioielli della Madonna
22:I gioielli della Madonna
1251:Works about the Camorra
1231:Italian-language operas
934:The Complete Opera Book
893:Der Schmuck der Madonna
865:Der Schmuck der Madonna
328:Slovak National Theatre
278:San Carlo Opera Company
193:(PCGOC) with conductor
183:Der Schmuck der Madonna
1226:German-language operas
534:
444:Konrad von Zawilowski
1058:Il segreto di Susanna
693:(December 13, 1925).
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274:Manhattan Opera House
264:staged the work with
171:KurfĂĽrstenoper Berlin
109:KurfĂĽrstenoper Berlin
1246:Operas set in Naples
1025:Ermanno Wolf-Ferrari
979:at Wikimedia Commons
229:in New York and the
140:Ermanno Wolf-Ferrari
46:The composer in 1906
33:Ermanno Wolf-Ferrari
1153:Giovacchino Forzano
342:
254:Century Opera House
242:Giovanni Martinelli
195:Cleofonte Campanini
162:Performance history
1177:Manno Wolf-Ferrari
1155: (librettist)
848:The New York Times
814:The New York Times
794:The New York Times
774:The New York Times
754:The New York Times
734:The New York Times
714:The New York Times
676:The New York Times
656:The New York Times
636:, 6 January 1912 (
634:The New York Times
535:
533:A scene from act 2
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324:Opera Holland Park
320:Teatro Grattacielo
305:Vienna State Opera
238:Metropolitan Opera
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1171:Josef Rheinberger
1167: (residence)
1106:La vedova scaltra
1050:I quatro rusteghi
975:Media related to
914:978-3-7952-1276-6
871:23 December 1911"
843:"OPERA IN VIENNA"
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404:Hermann Wiedemann
289:Royal Opera House
152:Enrico Golisciani
138:in three acts by
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74:Enrico Golisciani
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1082:Gli amanti sposi
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983:
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927:
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875:(in Italian)
864:
857:
851:. p. 5.
846:
836:
829:Fritz Reiner
823:
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763:
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743:
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485:A square in
484:
483:
392:Paula Weber
315:
313:
309:Margit Bokor
301:Fritz Reiner
286:
268:as Rafaele,
246:Marion Telva
244:as Gennaro,
235:
223:Rosina Galli
188:
182:
181:
166:
165:
131:
126:
125:
124:
55:
1241:1911 operas
691:Olin Downes
361: [
356:Conductor:
293:Paris Opera
282:Anna Fitziu
217:as Serena,
209:as Stella,
207:Jenny Dufau
174: [
112: [
104:(in German)
52:Translation
1215:Categories
617:References
599:André Turp
589:Recordings
489:by the sea
430:Ida Salden
350:Voice type
270:Rosa Raisa
130:(English:
99:1911-12-23
62:Librettist
1165:Ottobrunn
421:Maliella
397:Ciccillo
475:Synopsis
462:Totonno
440:baritone
436:Rafaele
410:Gennaro
384:Carmela
144:libretto
134:) is a
91:Premiere
83:Language
1085:(1925))
695:"Opera"
503:Camorra
425:soprano
97: (
86:Italian
1236:Operas
1191:Portal
1133:(1943)
1125:(1939)
1117:(1936)
1109:(1931)
1101:(1927)
1093:(1927)
1077:(1913)
1069:(1911)
1061:(1909)
1053:(1906)
1045:(1903)
1033:Operas
957:
949:, ed.
911:
869:
638:as PDF
487:Naples
465:tenor
449:Rocco
413:tenor
400:tenor
371:Biaso
1205:Opera
943:" in
564:Act 3
525:Act 2
480:Act 1
375:tenor
365:]
346:Role
334:Roles
256:with
178:]
136:opera
116:]
28:Opera
955:ISBN
909:ISBN
601:and
453:bass
236:The
150:and
1098:Sly
901:doi
146:by
30:by
1217::
932:,
924:,
907:.
845:.
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791:.
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751:.
731:.
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632:,
613:.
597:,
363:de
176:de
114:de
1193::
1017:e
1010:t
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930:"
926:"
917:.
903::
877:.
867:,
863:"
640:)
101:)
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