Yes, Wallach was even worse than Sofia. He will be convincing as a Mafia Don when the Negev is watered by the Tiber.

But I think that Cavalleria stood by itself as a relevant leitmotif for the ending of III. The theme of vengeance was appropriate for the setting (Sicily) and the events (note Vincent biting Zasa's ear early on). The "Intermezzo" also was appropriate--it falls in a part of the opera when Santuzza, having ratted out Turiddu to Alfio, realizes that she's condemned them to a vendetta and only one will survive. It plays as Michael realizes that he'd condemned his own daughter to death through his own actions, ambitions, mistakes.

I thought Katherine Scorsese's presence in the film probably was FFC tipping the beany to his fellow director. Also, she has a very Italian appearance, and added excellent Italian presence to "Mean Streets" and "Goodfellas," where she was especially wonderful in that storytelling scene as Tommy's mom. (Her voice was heard as DeNiro's mother in "King of Comedy.")

Scorsese's use of the Cavalleria "Intermezzo" at the beginning of "Raging Bull" was ok, but less directly relevant than FFC's use of it in GFIII (not that it matters--I still liked it in "Raging Bull"). More interesting, IMO: Scorsese typically used a score of contemporary pop music in "Bull." But he also reached for two much-lesser-known Mascagni operas in key places. The "Barcarolle" from Silvano plays during the color film sequence (some of Jake's fights, his honeymoon, Joey's marriage). The "Intermezzo" from Guglielmo Ratcliff is heard in that wonderful shot of the rain-swept window of the "Debonair Social Club," when Joey meets with Salvy and Tommy Como. It's also heard when Jake wins the title from Marcel Cerdan.