A Second Book of Operas

by Henry Edward Krehbiel

Next the phrase from the love music of Nedda and Silvio:—

[figure: a musical score excerpt]

The bustling music returns, develops great energy, then pauses, hesitates, and makes way for Tonio, who, putting his head through the curtain, politely asks permission of the audience, steps forward and delivers his homily, which is alternately declamatory and broadly melodious. One of his melodies later becomes the theme of the between-acts music, which separates the supposedly real life of the strolling players from the comedy which they present to the mimic audience:—

[figure: a musical score excerpt]

At last Tonio calls upon his fellow mountebanks to begin their play. The curtain rises. We are in the midst of a rural celebration of the Feast of the Assumption on the outskirts of a village in Calabria. A perambulant theatre has been set up among the trees and the strolling actors are arriving, accompanied by a crowd of villagers, who shout greetings to Clown, Columbine, and Harlequin. Nedda arrives in a cart drawn by a donkey led by Beppe. Canio in character invites the crowd to come to the show at 7 o'clock (ventitre ore). There they shall be regaled with a sight of the domestic troubles of Pagliaccio and see the fat mischief-maker tremble. Tonio wants to help Nedda out of the cart, but Canio interferes and lifts her down himself; whereupon the women and boys twit Tonio. Canio and Beppe wet their whistles at the tavern, but Tonio remains behind on the plea that he must curry the donkey. The hospitable villager playfully suggests that it is Tonio's purpose to make love to Nedda. Canio, half in earnest, half in jest, points out the difference between real life and the stage. In the play, if he catches a lover with his wife, he flies into a mock passion, preaches a sermon, and takes a drubbing from the swain to the amusement of the audience. But there would be a different ending to the story were Nedda actually to deceive him. Let Tonio beware! Does he doubt Nedda's fidelity? Not at all. He loves her and seals his assurance with a kiss. Then off to the tavern.

Hark to the bagpipes! Huzza, here come the zampognari! Drone pipes droning and chaunters skirling—as well as they can skirl in Italian!

[figure: a musical score excerpt]

Now we have people and pipers on the stage and there's a bell in the steeple ringing for vespers. Therefore a chorus. Not that we have anything to say that concerns the story in any way. "Din, don!" That would suffice, but if you must have more: "Let's to church. Din, don. All's right with love and the sunset. Din, don! But mamma has her eye on the young folk and their inclination for kissing. Din, don!" Bells and pipes are echoed by the singers.

Her husband is gone to the tavern for refreshment and Nedda is left alone. There is a little trouble in her mind caused by the fierceness of Canio's voice and looks. Does he suspect? But why yield to such fancies and fears? How beautiful the mid-August sun is! Her hopes and longings find expression in the "Ballatella"—a waltz tune with twitter of birds and rustle of leaves for accompaniment. Pretty birds, where are you going? What is it you say? Mother knew your song and used once to tell it to her babe. How your wings flash through the ether! Heedless of cloud and tempest, on, on, past the stars, and still on! Her wishes take flight with the feathered songsters, but Tonio brings her rudely to earth. He pleads for a return of the love which he says he bears her, but she bids him postpone his protestations till he can make them in the play. He grows desperately urgent and attempts to rape a kiss. She cuts him across the face with a donkey whip, and he goes away blaspheming and swearing vengeance.

Then Silvio comes—Silvio, the villager, who loves her and who has her heart. She fears he will be discovered, but he bids her be at peace; he had left Canio drinking at the tavern. She tells him of the scene with Tonio and warns him, but he laughs at her fears. Then he pleads with her. She does not love her husband; she is weary of the wandering life which she is forced to lead; if her love is true let her fly with him to happiness. No. 'Tis folly, madness; her heart is his, but he must not tempt her to its destruction. Tonio slinks in and plays eavesdropper. He hears the mutual protestations of the lovers, hears Nedda yield to Silvio's wild pleadings, sees them locked in each other's arms, and hurries off to fetch Canio. Canio comes, but not in time to see the man who had climbed over the wall, yet in time to hear Nedda's word of parting: A stanotte—e per sempre tua saro—"To-night, and forever, I am yours!" He throws Nedda aside and gives chase after the fugitive, but is baffled. He demands to be told the name of her lover. Nedda refuses to answer. He rushes upon her with dagger drawn, but Beppe intercepts and disarms him. There is haste now; the villagers are already gathering for the play. Tonio insinuates his wicked advice: Let us dissemble; the gallant may be caught at the play. The others go out to prepare for their labors. Canio staggers toward the theatre. He must act the merry fool, though his heart be torn! Why not? What is he? A man? No; a clown! On with the motley! The public must be amused. What though Harlequin steals his Columbine? Laugh, Pagliaccio, though thy heart break!