Question: Who died first Richard Strauss or Pietro Mascagni?

Context articles: Richard Strauss
Lorenzo Perosi
Amica (opera)
Pietro Mascagni
Cavalleria rusticana discography
Mala Pasqua!
Valery Kritskov
Lina Bruna Rasa
Rapsodia satanica
Mark Delavan

Richard Georg Strauss (11 June 1864 – 8 September 1949) was a leading German composer of the late Romantic and early modern eras.
 He is known for his operas, which include "Der Rosenkavalier", "Elektra", "Die Frau ohne Schatten" and "Salome"; his Lieder, especially his "Four Last Songs"; his tone poems, including "Don Juan", "Death and Transfiguration", "Till Eulenspiegel's Merry Pranks", "Also sprach Zarathustra", "Ein Heldenleben", "Symphonia Domestica", and "An Alpine Symphony"; and other instrumental works such as "Metamorphosen" and his Oboe Concerto.
 Strauss was also a prominent conductor in Western Europe and the Americas, enjoying quasi-celebrity status as his compositions became standards of orchestral and operatic repertoire.
Monsignor Lorenzo Perosi (21 December 1872 – 12 October 1956) was an Italian composer of sacred music and the only member of the Giovane Scuola who did not write opera.
 In the late 1890s, while he was still only in his 20s, Perosi was an internationally celebrated composer of sacred music, especially large-scale oratorios. Nobel Prize winner Romain Rolland wrote, "It's not easy to give you an exact idea of how popular Lorenzo Perosi is in his native country."
 Perosi's fame was not restricted to Europe.
 A 19 March 1899 "New York Times" article entitled "The Genius of Don Perosi" began, "The great and ever-increasing success which has greeted the four new oratorios of Don Lorenzo Perosi has placed this young priest-composer on a pedestal of fame which can only be compared with that which has been accorded of late years to the idolized Pietro Mascagni by his fellow-countrymen."
 Gianandrea Gavazzeni made the same comparison: "The sudden clamors of applause, at the end of the [19th] century, were just like those a decade earlier for Mascagni."
 Perosi worked for five Popes, including Pope St. Pius X who greatly fostered his rise.
Amica is an opera in two acts by Pietro Mascagni, originally composed to a libretto by Paul Bérel (the pseudonym of Paul de Choudens).
 The only opera by Mascagni with a French libretto, it was an immediate success with both the audience and the critics on its opening night at the Théâtre du Casino in Monte-Carlo on 16 March 1905.
 Mascagni himself conducted the performance.
 The opera had its Italian premiere (with an Italian libretto by Mascagni's close collaborator, Giovanni Targioni-Tozzetti) on 13 May 1905 at the Teatro Costanzi in Rome.
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).
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.
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.
Valery Kritskov is a Russian conductor who used to take conducting lessons at the Moscow Institute of Culture which were taught by Kirill Tikhonov.
 He graduated from there in 1988 and then worked in Moscow-based Helikon Opera till he got employed with Novaya Opera in 2002.
 While there, he conducted many operas including Nikolai Rimsky-Korsakov's "The Snow Maiden" and "The Tsar’s Bride" as well as Anton Rubinstein's "The Demon" and Tchaikovsky's "The Maid of Orleans".
 He also conducted works by the Italian composers such as Pietro Mascagni's "Cavalleria rusticana" and Ruggero Leoncavallo's "Pagliacci" and German such as Richard Wagner's "Lohengrin" and Strauss' "Die Fledermaus" as well as a concert dedicated to Vincenzo Bellini.
 Besides operas, he is also known for his conducting of the Russian ballet based on works by Tchaikovsky and Sergei Prokofiev as well as German and Austrian ballet composers such as Ludwig Minkus and Charles Gounod.
 Later on, he became a conductor of the Coppélia ballet which was based by Léo Delibes work and was produced by Imperial Russian Ballet.
 Currently he has two CD recordings called "Chorus of the Novaya Opera Theatre of Moscow" and the "Soloists of the Novaya Opera Theatre of Moscow".
Lina Bruna Rasa (24 September 1907 – October 1984) was an Italian operatic soprano.
 She was particularly noted for her performances in the verismo repertoire and was a favourite of Pietro Mascagni who considered her the ideal Santuzza.
 Bruna Rasa created the roles of Atte in Mascagni's "Nerone", Cecilia Sagredo in Franco Vittadini's "La Sagredo" and Saint Clare in 's 1926 oratorio, "Trittico Francescano".
 She also sang the role of Tsaritsa Militrisa in the Italian premiere of Nikolai Rimsky-Korsakov's "The Tale of Tsar Saltan".
Rapsodia Satanica was a 1915 silent film directed by Nino Oxilia featuring Lyda Borelli in a female version of Faust based on poems by Fausto Maria Martini.
 Pietro Mascagni wrote his only film music for the film and conducted the first performance in July 1917.
 Mascagni was keen to take commission for the film music due to the financial burden of supporting two sickening brothers.
 The French-German TV channel Arte restored the film in 2006 and Deutsche Staatsphilharmonie Rheinland-Pfalz, conducted by Frank Strobel recorded Mascagni's score.
Mark Delavan is an American operatic bass-baritone.
 He made his professional debut in 1986 at the San Francisco Opera in a small role in Giuseppe Verdi's "Don Carlos".
 He spent the next three years performing in numerous comprimario roles with the company.
 He has since returned to that opera house to sing Scarpia in Giacomo Puccini's "Tosca" (2004, with Carol Vaness in the title role) and Wotan in Richard Wagner's "The Ring Cycle" (2008, 2010, and 2011).
 In 2001 he made his debut at the Metropolitan Opera as Amonasro in Verdi's "Aida" with Deborah Voigt in the title role, Luciano Pavarotti as Radamès, Olga Borodina as Amneris, and James Levine conducting.
 He has since been heard at the Met as Alfio in Pietro Mascagni's "Cavalleria rusticana", Carlo Gérard in "Andrea Chénier", Count Tomsky in "The Queen of Spades", Don Carlo in Verdi's "La Forza del Destino", the Messenger in Richard Strauss' "Die Frau ohne Schatten", Scarpia, and the title roles in Verdi's "Nabucco", Verdi's "Rigoletto", and Verdi's "Simon Boccanegra".