Musical Drama in two acts and a Prologue.
Music and Text by R. LEONCAVALLO.
Translated into the German by LUDWIG HARTMANN.
In the summer of the year 1892 a rumour was going through the musical world, that Mascagni had found his equal, nay his superior in the person of another young Italian composer. When the "Pagliacci" by Leoncavallo was executed in Italy, it excited a transport of enthusiasm almost surpassing that of "Cavalleria", so that Berlin and Leipsic brought the opera on the stage as quickly as possible, and Dresden followed their example on January 22nd 1893, with the same great success.
The opera is indeed eminently qualified to produce an impression. Though less condensed in its tragic depths than Cavalleria, the music is nobler without being less realistic. In Leoncavallo the feeling of artistic form is more developed. Though of southern temper he never lets passion get the better of the beautiful and true harmony, also he is Mascagni's senior by four years.
Leoncavallo's excellent musical education is as unmistakable as the influence of Wagner's music on his genius.—He, too, introduces the "Leading Motives", but he is far from imitating his great predecessor. Like Wagner he did his text himself, and it must be owned, that it is very good. The idea was suggested to him by an event, which he witnessed at Montalto in Calabria during the summer 1865, and which impressed him deeply.
In the Prologue, a wonderful piece of music, Tonio the Fool announces to the public the deep tragic sense which often is hidden behind a farce, and prepares them for the sad end of the lovers in this comedy.
The introduction with its wonderful Largo is like a mournful lamentation; then the curtain opens, showing the entry of a troop of wandering actors, so common in southern Italy. They are received with high glee by the peasants, and Canio, the owner of the troop, invites them all to the evening's play. Canio looks somewhat gloomy, and he very much resents the taunts of the peasants, who court his beautiful wife Nedda, and make remarks about the Fool's attentions to her. Nevertheless Canio gives way to his friends' invitation for a glass of Chianti wine, and he takes leave of his wife with a kiss, which however does not quite restore her peace of mind, Nedda's conscience being somewhat disturbed. But soon she casts aside all evil forebodings and vies with the birds in warbling pretty songs, which, though reminding the hearer of Wagner's Siegfried are of surpassing harmony and sweetness. Tonio the Fool, spying the moment to find Nedda alone, approaches her with a declaration of love, but she haughtily turns from him, and as he only grows more obtrusive and even tries to embrace her she seizes a whip and slaps him in the face. Provoked to fury he swears to avenge himself. Hardly has he turned away when the peasant Silvio appears on the wall. He is Nedda's lover, and having seen Canio sitting in the tavern, he entreats her to separate herself from the husband she never loved and take flight with him. Nedda hesitates between duty and passion, and at last the latter prevails, and she sinks into his arms. This love-duet is wonderful in style and harmony. Tonio unfortunately has spied out the lovers and returns with Canio. But on perceiving the latter's approach Silvio has leapt over the wall, his sweetheart's body covering his own person, so that Canio is unable to recognize his rival; he once more reminds Nedda to be ready that night and than takes flight. With an inarticulate cry Canio rushes after him and Nedda falls on her knees to pray for her lover's escape, while Tonio the Fool triumphs over her misery. The husband however returns defeated; panting he claims the lover's name, and Nedda's lips remaining sealed, he is about to stab his wife, when Beppo the Harlequin intervenes, and, wrenching the dagger from his unfortunate master's hands intimates, that it is time to prepare for the play. While Nedda retires, Canio breaks out into a bitter wail of his hard lot, which compels him to take part in the farce, which for him is bitter reality. With this air the tragic height of the opera is reached.
In the second act the spectators throng before the small stage, each of them eager to get the best seat. Nedda appears, dressed as Colombine, and while she is collecting the money, she finds time to warn Silvio of her husband's wrath. The curtain opens, and Nedda is seen alone on the stage, listening to the sentimental songs of Arlequin, her lover in the play. Before she has given him the sign to enter, Tonio, in the play called Taddeo the Fool enters, bringing the food which his mistress has ordered for herself and Arlequin. Just as it really happened in the morning, the poor Fool now makes love to her in play; but when scornfully repulsed he humbly retires, swearing to the goodness and pureness of his lady-love. Arlequin entering through the window, the two begin to dine merrily, but Taddeo reenters in mocking fright, to announce the arrival of the husband Bajazzo (Canio). The latter however is in terrible earnest, and when he hoarsely exacts the lover's name, the lookers-on, who hitherto have heartily applauded every scene, begin to feel the awful tragedy hidden behind the comedy. Nedda remains outwardly calm and mockingly she names innocent Arlequin as the one who had dined with her. Then Bajazzo begins by reminding her, how he found her in the street a poor waif and stray, whom he nursed, petted and loved, and Nedda remaining cold, his wrath rises to fury and he wildly curses her, shrieking "the name, I will know his name!" But Nedda, though false is no traitress. "Should it cost my life, I will never betray him" she cries, at the same time trying to save her life, by hurrying from the stage amongst the spectators. Too late alas; Canio already has reached and stabbed her, and Silvio, who rushes forward, also receives his death-stroke from the hands of the deceived husband, who has heard his name slip from the dying lips of his wife. All around stand petrified, nobody dares to touch the avenger of his honor, who stands by his wife's corpse limp and brokenhearted: "Go", says he, "go, the farce is ended."