Question: Bernardo de Muro debuted in performing in "Cavalleria rusticana" by the Italian composer who ushered in which movement?

full_context: Document 1: Gaspare Pacchierotti: Details of his early life are scarce. It is possible that he studied with Mario Bittoni, "maestro di cappella" in the cathedral of his home city. Under the stage name of Porfirio Pacchierotti, he made his début in Baldassare Galuppi's opera "Le nozze di Dorina" at the Teatro dei Nobili in Perugia during the carnival season of 1759, playing, as young castrati often did, a female role: Livietta. He made further appearances under his assumed name in Venice (1764) and Innsbruck (1765). On this latter occasion he sang Acronte in Hasse's "Romolo ed Ersilia" on the occasion of the marriage of Peter Leopold of Habsburg-Lorraine, future Grand Duke of Tuscany and Holy Roman Emperor, and the Infanta Maria Luisa of Spain. Here, for the first time, he encountered the famous castrato Gaetano Guadagni, then at the height of his career.
Document 2: List of Argentine operas: This is a list of operas by Argentine composers. Argentina's first native born opera composer was Francisco Hargreaves (1849-1900) who composed "La gatta bianca" (1875) and "Los estudiantes de Bologna" (1897), followed by Zenón Rolón (1856-1902) who composed several operas as well as operettas and zarzuelas. The works of many of the composers from this generation were first performed outside Argentina. Native Argentine opera was to develop much more with the massive European (mainly Italian) immigration in the late 19th century and even more with the opening of the Teatro Colón in 1908 where most of the 20th century operas listed here had their world premieres. Some of the first operas to treat Argentine subjects or national themes were Arturo Berutti's "Pampa" (1897) based on the life of Juan Moreira and "Yupanki" (1899) based on the life of Inca warrior Manqu Inka Yupanki. Also notable in this genre were Felipe Boero's "Tucumán" (1918) set during the Battle of Tucumán and "El matrero" (1929). Considered by many to be the quintessential Argentine opera, "El matrero" had a libretto based on gaucho folk tradition and incorporated Argentine folk melodies and a traditional gaucho dance. The Spanish playwright Federico García Lorca was also the inspiration for several Argentine operas. His plays, "La zapatera prodigiosa" and "Bodas de sangre", were the basis of operas by Juan José Castro, while Osvaldo Golijov's 2003 opera "Ainadamar" is based on events in the playwright's life.
Document 3: Cavalleria rusticana discography: This is a discography of Cavalleria rusticana, an opera by Pietro Mascagni. It premiered at the Teatro Costanzi in Rome on 17 May 17, 1890. There have been over 100 full-length recordings of "Cavalleria rusticana" published since it was first recorded in Germany in 1909. Mascagni himself has conducted the opera in two recordings, the best-known of which is the 1940 EMI recording made to mark the 50th anniversary of the opera's premiere. The performance by the La Scala orchestra and chorus with Lina Bruna Rasa as Santuzza and Beniamino Gigli as Turiddu also has a spoken introduction by Mascagni. Originally released as an LP, it is available on CD under several historical recording labels, including Naxos.
Document 4: Carmen Melis: Carmen Melis (15 August 1885 – 19 December 1967) was an Italian operatic soprano who had a major international career during the first four decades of the 20th century. She was known, above all, as a verismo soprano, and was one of the most interesting singing actresses of the early 20th century. She made her debut in Novara in 1905 and her career rapidly developed in her native country over the next four years. From 1909-1916 she performed with important opera companies in the United States; after which she was busy performing at many of Europe's most important opera houses. From 1917 until her retirement from the stage in 1935 she was particularly active at the Teatro Costanzi in Rome and at La Scala in Milan. After her singing career ended, she embarked on a second career as a voice teacher. Her most notable student was soprano Renata Tebaldi.
Document 5: Giacomo Puccini: Giacomo Antonio Domenico Michele Secondo Maria Puccini (] ; 22 December 1858 29 November 1924) was an Italian opera composer who has been called "the greatest composer of Italian opera after Verdi".
Document 6: Giuseppe Verdi: Giuseppe Fortunino Francesco Verdi (] ; 9 or 10 October 1813 – 27 January 1901) was an Italian opera composer.
Document 7: Marco Balderi: Marco Balderi is an Italian orchestra conductor who began his career after winning the International Competitions of Salzburg and Alexandria. He toured Austria, China, Korea, France, Germany, Japan, Poland, Romania, Russia, Spain and Switzerland. He is known for acclaimed productions of "Madama Butterfly" at the Deutsche Oper in Berlin, and at the Opéra Bastille in Paris in January 2006, as well as Georges Bizet's "The Pearl Fishers" in New Delhi. Balderi has studied numerous symphonic works, including all the symphonies of Beethoven, Brahms, Tchaikovsky, Mozart and Schumann, and over 200 operas, forty of which he has conducted. He has also studied 650 sacred and profane vocal works.
Document 8: Bernardo de Muro: Bernardino de Muro was born on November 3, 1881, in Tempio Pausania, Sardinia, to Antonio Maria and Jeanne-Marie Demuro. His father was a small landowner. Bernardo’s formal education ceased at primary school. Initially self-taught, he began singing in a café in Tempio. Moving to Rome, he participated in a competition for admission to the Conservatory of St. Cecilia in 1903. He studied under A. Sbriscia and Alfredo Martino. His operatic debut was on May 12, 1910, at the Teatro Costanzi in Rome, performing in "Cavalleria rusticana" by Mascagni. He received flattering reviews for this performance. In the next few years he performed in "Madama Butterfly", "L'Africaine", "Carmen", and further performances of "Cavalleria rusticana". Although he was long a star at La Scala, he was largely unknown to American audiences until he began to tour there. His continued career carried him to such places as the Solis in Montevideo, Uruguay in 1916, the Dal Verme in Milan (performing "Mefistofele"), the Hippodrome, St. Petersburg, Florida, in 1927, and The Dell Ofrecie Grand Opera Company of New York (performing "Aida").
Document 9: Emilio Venturini: Emilio Venturini (1878 - 1952) was an Italian operatic lyric tenor known for his portrayal of character roles. He made his professional opera debut in 1900 in Italy where he remained for the next several years. In 1901 he sang the role of Brighella in Mascagni's "Le maschere" at the Teatro Regio in Turin. He made his La Scala debut in 1903 as Froh in Wagner's "Das Rheingold" and sang in the premiere of Umberto Giordano's "Siberia". In 1904, he originated the role of Prince Yamadori in Puccini's "Madama Butterfly" at La Scala. In 1905, Venturini joined the roster of the Opéra National de Paris. In 1907 he moved to London to sing with Royal Opera at Covent Garden. In 1910, Venturini became a member of the Chicago Opera Association where he performed roles until the summer of 1917. While in Chicago he sang mostly character parts but did sing some major roles like Turiddu in "Cavalleria rusticana", Edgardo in "Lucia di Lammermoor" and the Pinkerton in "Madama Butterfly". In 1911 he sang the roles of Cassio in Verdi's "Otello" and Spoletta in Puccini's "Tosca" at the Metropolitan Opera. Venturini also returned to Italy for brief periods in 1910, 1911, and 1916 to perform roles with the Teatro Massimo in Palermo. In 1921, Venturini joined the roster at La Scala and sang roles with that opera house until 1948. He notably originated the roles of Il Tempiere in Boito's "Nerone" in 1924 and Pang in Puccini's "Turandot" in 1926. and was the first to record the role of Nereo in Boito's "Mefistofele" in the 1931 La Scala recording.
Document 10: Sì (operetta): Sì is an operetta in three acts composed by Pietro Mascagni to a libretto by Carlo Lombardo with verses by Arturo Franci. The libretto is based on Lombardo's operetta "La duchessa del Bal Tabarin" and Felix Dörmann's libretto for "Majestät Mimi" set by Bruno Granichstaedten in 1911. Mascagni's only venture into operetta, it premiered on 13 December 1919 at the Teatro Quirino in Rome. The operetta takes its name from its central character, Sì, an actress at the Folies Bergère, so called because she could never say no. ("Si" is the Italian word for "yes".)
Document 11: Domenico Monleone: Domenico Monleone (January 4, 1875 – 15 January 1942) was an Italian composer of operas, most noted for his opera "Cavalleria rusticana" of 1907, which for a while rivalled the success of Mascagni's work of the same name which was from the same source. The work was the third opera to be based on Verga’s 1884 theatrical adaptation of his own short story, "Cavalleria rusticana", Stanislao Gastaldon’s "Mala Pasqua" (1888) being the first, and Mascagni's famous opera (1890) being the second.
Document 12: Mala Pasqua!: Mala Pasqua! (Bad Easter!) is an opera in three acts composed by Stanislao Gastaldon to a libretto by Giovanni Domenico Bartocci-Fontana. The libretto is based on Giovanni Verga's play, "Cavalleria rusticana" ("Rustic Chivalry") which Verga had adapted from his short story of the same name. "Mala Pasqua!" premiered on 9 April 1890 at the Teatro Costanzi in Rome, six weeks before Pietro Mascagni's opera "Cavalleria rusticana" which was also based on Verga's play. Bartocci-Fontana's libretto adds some elements that were not in Verga's original and expands on others. The name of the Santuzza character was also changed to Carmela, but the basic plot and setting remain the same. Its title refers to the curse which Carmela places on Turiddu, the lover who had spurned her: "Mala Pasqua a te!" ("May you have an evil Easter!"). Following its Rome premiere "Mala Pasqua!" had a few more performances in Perugia and Lisbon, but it was completely eclipsed by the phenomenal success of Mascagni's opera. After the 1891 Lisbon run it was not heard again until 2010 when it was given a semi-staged performance in Agrigento, Sicily.
Document 13: Francesco Dominici (operatic tenor): Francesco Dominici (1885–1968) was an Italian operatic tenor particularly admired for his acting in comedic roles. He made his professional opera debut as Fernando in Donizetti's "La favorite" at the Teatro Donizetti in Bergamo in 1914. He created the role of Prunier in the original 1917 production of Puccini's "La rondine" at the Grand Théâtre de Monte Carlo, a role which he performed at many other opera houses including the Teatro Comunale di Bologna. Over the next several years he played mostly leading roles at the Teatro Costanzi in Rome including Rodolfo in Puccini's "La Bohème", Fenton in Verdi's "Falstaff", and the Ernesto in Donizetti's "Don Pasquale". In the early 1920s he joined the roster at La Scala where he began playing more buffo roles than leading roles. In 1921, he sang the role of doctor Cajus in Verdi's Falstaff at La Scala and in 1922 was Filipeto in the company's first production of Ermanno Wolf-Ferrari's "I quattro rusteghi". In 1926 he created the role of Emperor Altoum in the original production of Puccini's "Turandot" at La Scala. In 1929 he went on tour with La Scala to Germany. Other roles that Dominici performed at La Scala include David in Wagner's "Die Meistersinger von Nürnberg", Monostatos in Mozart's "The Magic Flute", and the Neipperg in Umberto Giordano's "Madame Sans-Gêne". In 1931 he moved to Cuba, where he taught music for many years. Dominici died in Havana in 1968.
Document 14: Pietro Mascagni: Pietro Antonio Stefano Mascagni (] ; 7 December 1863 – 2 August 1945) was an Italian composer most noted for his operas. His 1890 masterpiece "Cavalleria Rusticana" caused one of the greatest sensations in opera history and single-handedly ushered in the "Verismo" movement in Italian dramatic music. While it was often held that Mascagni, like Leoncavallo, was a "one-opera man" who could never repeat his first success, "L'amico Fritz" and "Iris" have remained in the repertoire in Europe (especially Italy) since their premieres. Mascagni said that at one point, "Iris" was performed in Italy more often than "Cavalleria" (cf. Stivender).
Document 15: Pietro Neri-Baraldi: Pietro Neri-Baraldi (1828 – 29 June 1902) was an Italian opera singer who sang leading tenor roles throughout Europe. He was born in Minerbio, a small town near Bologna and made his debut at the Teatro Comunale di Bologna in 1850. By 1853 he was engaged as the leading tenor at the Teatro del Corso where he sang in the first performances in Bologna of "Il trovatore" (as Manrico), "Rigoletto" (as the Duke of Mantua), and "Elena da Feltre" (as Ubaldo). He then appeared in Paris during the 1854/1855 season singing at both the Théâtre-Italien and the Paris Opéra. He sang a wide range of roles in London from 1856 to 1868, first at the Lyceum Theatre and then at the Royal Opera House. He also performed in Lisbon at the Teatro de São Carlos where he was the "primo tenore assoluto" from 1856 to 1867 and in St. Petersburg.
ground_truth: Verismo