Music drama in two acts and prologue Music and libretto Ruggero Leoncavallo (based on true story)
Conductor-producer HristoIgnatov Director-producer NinaNaydenova Set designer IvanTokadzhiev Costume designer NikolinaKostova-Bogdanova Puppet designer NikolinaKostova-Bogdanova Choreography BoryanaSechanova Choir conductor MalinaHubcheva DRAMATISPERSONAE: Canio, Leader of the troupe of traveling comedians, in the comedy – Pagliacci –tenor Nedda, his wife, in the comedy – Colombina – soprano Tonio, a player, in the comedy – Taddeo – baritone Peppe, a player, in the comedy – Arleccino – tenor Silvio, young peasant– baritone Village men, women and children. Set in the village of Montalto in Calabria (Italy), on 15 August 1865.
PLOT SUMMARY Prologue Before the opera begins, the clown Tonio steps in front of the curtain to say that what they are about to see on the stage happens in real life too. A heart is beating in the breast of the Pagliacci too. Actors, like everybody else, love, hate, and their tears are not always fake.
Act One A group of traveling comedians arrives in the small Italian village of Montalto. Canio, the leader of the troupe, invites everyone to the performance that same night. The villagers, excited by the occasion, lead the actors to the local pub for a drink. Canio and Peppe gladly accept the invitation but Tonio refuses. The villagers joke that he does not want to come with them in order to be alone with Nedda. Canio does not find this funny. He is not someone to be made fun of as he is prepared to kill any contender for his wife’s heart. The threats of her jealous husband frighten Nedda. She does not love Canio and is happy to come to this village where her beloved Silvio lives. The young woman is dreaming of the coming meeting with him. Enters the clown Tonio, who has long been in love with Nedda and has finally decided to make a declaration of love. But Nedda laughs at him. When Tonio tries to touch her, she pushes him away. Hurt and offended, he leaves vowing to have his revenge. The young villager Silvio approaches. He is aware of the danger they both face but has come to persuade Nedda to elope with him. Nedda is hesitating but the ardent words of the man she loves convince her. They decide to elope that same night, after the performance. In the meantime Tonio, who has secretly followed Nedda, brings Canio. Silvio manages to escape before he is recognized. Mad with jealousy, Canio insists that his wife tell him the name of her lover. When Nedda refuses, he attacks her with a knife, but Peppe interferes and prevents the violence from erupting. Preparing for the show, with his heart bleeding and through bitter tears, the clown has to make the audience laugh. Canio is the Pagliaccio, who must entertain the people who pay him to make them laugh!
Act Two The whole village gathers at the square. The comedy starts. The storyline completely mirrors the tragedy in Canio’s life. Colombina (Nedda) is expecting her lover Arleccino (Peppe). The sounds of his serenade are heard. The ugly servant Taddeo (Tonio) begins to declare his love for Colombina. But Arleccino kicks him out. The tryst between Colombina and Arleccino is cut short by the sudden arrival of the Pagliaccio (Canio). Colombina’s words to Arleccino are the same that Nedda spoke earlier to her real-life lover. Canio is beside himself with jealousy. Forgetting the script, he demands, knife in hand, that Nedda reveal her lover's name. Nedda, terrified, tries to continue with the play and bring Canio back to the comedy. Maddened by her defiance, Canio stabs Nedda. Only now the audience understands that this is not part of the show. Silvio rushes to help his beloved but Canio kills him too. Tonio’s words ring in the sudden silence: „La comedia e finita“ (The comedy is over).
BACKGROUND OF THE WORK Leoncavallo has undoubted talent as composer and writer. His librettos, obviously influenced by famous Italian writer Giovanni Verga (1840–1922), considered the father of the verism trend in literature, are skillfully written and follow the rules of stage dramaturgy. The libretto of „Pagliacci“ was based on a true story. Leoncavallo composed the opera for the competition organized by Milan publisher Sonzonio in 1890. First prize was awarded to the opera „Rustic Chivalry“ by Pietro Mascagni. „Pagliacci“ was disqualified, because this was a one-act opera competition. Two years later, Sonzonio himself helped put „Pagliacci“ on the stage. The premiere was on 21 May 1892 at the Dal Verme Theater under the baton of Arturo Toscanini. The role of Canio was performed by famous tenor Morel. Welcomed enthusiastically by the audience, „Pagliacci“ soon conquered the world opera stages. From the director’s concept about the production: The issue of jealousy, which makes one go against his better judgment and commit murder, morally and physically, to defend one’s honor is the cornerstone of the storyline in both “Rustic Chivalry” by Mascagni and “Pagliacci” by Leoncavallo. The classic formula – “crime of passion” – is presented in the production from different points of view and positions, and namely: justification or not of murder as an extreme emotional reaction in defence of honor, for the sake of love or in defence of the right of every person to love, to be free and loved outside the “moral” norms of marriage, social prejudices, in spite of profession, common sense, etc... In the director’s concept, the two one-act pieces are united by the same subject, viewed as mirror images, in one production of two parts, where the action develops in the same place, but in different times. In “Rustic Chivalry” dominant is the female view on the issue of adultery. The Mother, the Fiancée and the Mistress – three women, three different destinies under the eyes of “society”. In “Pagliacci” the male ego, the male honor, passion, competitiveness, lust and power dominate the developments. The personal drama of the Artist – the clown Pagliaccio, turns into a protest against his Audience; moreover, it becomes a protest against public opinion. But is this a problem only for the Artist who unleashes his passions, bares his soul, on the stage - arena, alone against his audience, or is this a problem for many of us? Don’t we all do things more for the others who are watching, demanding, expecting and judging us, and not for ourselves and our loved ones. This is what makes the issues examined in “Rustic Chivalry” and “Pagliacci” so topical – two works written a century ago, in which Love, Adultery as betrayal and Honor wage war in the name of being free to choose, to be yourself!
