# Pagliacci



## Diminuendo (May 5, 2015)

Since Cavalleria and Pagliacci are usually pared, it is only fair that there is a thread on Pagliacci too. I like the opera very much, but perhaps not as much as Cavalleria. My favorite recording is the Callas, Di Stefano and Gobbi recording with Serafin. When these singers are together the end result is always superb. Callas and Gobbi are excellent uncovering the hidden possibilities of the work. Di Stefano is very well suited for the role temperamentally, even if the role is a bit too heavy for his voice. At the end when he finally finds who Nedda's lover is its unbelievable.











Which of the pair Cav/Pag you prefer? What do you think of the opera? And what is your favorite recording?


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## DavidA (Dec 14, 2012)

There is absolutely no doubt that Pagliacci is by far the best opera. As is the best performance on desk conducted by Karajan, who raises the level of the music beyond the usual,verismo caricature.


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## Cesare Impalatore (Apr 16, 2015)

Pagliacci also means a lot to me because Mario del Monaco made me love it back in the days when I was exploring full operas for the first time with his mindblowing performance in Tokyo, 1961. I was overwhelmed by the sheer power of this verismo drama but I've grown to appreciate it intellectually even more over the years. The whole _theatre in the theatre_- thing, the alienating psychological pressure which destroys Canio is quite profound, realistic and *modern*, more so then so many faux-intellectual Regietheater adaptations of operas that we see nowadays. The final scene with Canio trying to _retake his dignity_ (l'uom riprende i suoi diritti) by going out of his clown character and forcing Nedda to confess her affair, while she tries to de-escalate the situation by keeping on with the cheerful performance tune, is an act of pure genius by Leoncavallo; in terms of music as well as tragedy. Canio ends up destroying his dignity and love precisely because of the action that he takes.

I hope you forgive me but I must say that Di Stefano is far from my ideal Canio. He is too much of an aristocratic charmer, too much of a sohpisticatedly suffering gentleman for this role. Canio needs to be played like a simple-minded, sort of brutish common man who isn't able to deal with his heavy emotions. Del Monaco is absolutely perfect for this, maybe even better than in his beloved Otello. There are neither limits for his vocal abilities nor for his highly intense, dramatic acting in Pagliacci, he can use everything for his best. The 61 Tokyo version also features the amazing, hugely underrated soprano Gabriella Tucci as Nedda (one of the few sopranos who was constantly able to more than successfully stand her ground to Del Monaco in terms of stage presence) and Aldo Protti as Tonio; not the most subtle baritone that ever lived but another extraordinarily charismatic figure with a vey fitting _physical_ performance for Pagliacci to complete this harmonious, near perfect ensemble.

These singers make everything that I said about the finale come to life:






Of course, in the context of Leoncavallo's masterpiece we always have to remember the great Caruso with the best, most heartfelt version of _Vesti la giubba_ in recorded history, a record worth a million:


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## Diminuendo (May 5, 2015)

Don't worry I love Del Monaco in this role. Well in every role if I'm honest. I may not agree on your opinion on Di Stefano, but it doesn't really matter. Unfortunately there is only that video of Pippo singing Pagliacci. Did you listen the first video link (



 By listening the whole thing, I wouldn't say that Di Stefano is too much of a gentleman. We can all have our opinions and I for one enjoy hearing other peoples opinion. It would be quite boring I think, if we all thought the same way.


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## Cesare Impalatore (Apr 16, 2015)

Maybe gentleman was the wrong word as it sounds too boring. What I meant is Pippo's warm, noble sound which in that recording with Callas makes me feel more sorry for his broken heart than fearful of his insanity. With Del Monaco's Canio I am touched by his pain and bloody terrified of the violent rage at the same time.


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## Sloe (May 9, 2014)

I really don´t like the opera the only parts I like are Vesti la giubba and the ending. I would also like if Cavalleria Rusticana was paired with a better opera.
It is not even my favourite Leoncavallo opera I prefer La Boheme otherwise I am not that fond of Leoncavallo´s operas.


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## nina foresti (Mar 11, 2014)

Here's a vote for Jon Vickers


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## Woodduck (Mar 17, 2014)

Cesare Impalatore said:


> Of course, in the context of Leoncavallo's masterpiece we always have to remember the great Caruso with the best, most heartfelt version of _Vesti la giubba_ in recorded history, a record worth a million:


I just couldn't resist appending this YouTube clip (below) of all three of Caruso's recordings of "Vesti la giubba," from 1902, 1904, and 1907. I think they sound very natural (something odd was done to the sound in your clip), and the cumulative experience of hearing his three versions back to back is overwhelming. The climax of the 1904 version from the long-held "Ah" to the end is simply unbelievable. And this is with piano accompaniment!


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## Pugg (Aug 8, 2014)

_Bergonzi with Carlyle and Taddei conducted by Karajan
_
Hands down :cheers:


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## Woodduck (Mar 17, 2014)

I prefer _Pagliacci_ to _Cavalleria_, for reasons well-stated above by Cesare Impalatore. It's a brilliant theatrical _tour de force_, even if Mascagni's work is a bit more emotionally gripping. Of complete recordings I have to go with the Callas/Gobbi/di Stefano, while agreeing that di Stefano's isn't the ideal Canio voice. Callas makes Nedda fascinating, as she does every role she sings, and Gobbi too is unbeatable. If Corelli had been available (Caruso being, unfortunately, several decades dead) we'd have had a virtually ideal performance.


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## howlingfantods (Jul 27, 2015)

Bjorling/de los Angeles/Warren/Merrill recording for me, an embarrassment of riches cast. I rate Pagliacci recordings by the tenor, and Bjorling gives my favorite performance of the role.


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## gardibolt (May 22, 2015)

There's an interesting Italian film of the opera from 1948, with horror/special effects maestro Mario Bava as director of photography, that has Gobbi playing both Tonio and Silvio (not to mention an incredibly gorgeous and very young Gina Lollobrigida as Nedda--singing dubbed by Onelia Fineschi), as well as the Prologue. It's still available from the Bel Canto Society, so far as I know.


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## schigolch (Jun 26, 2011)

I prefer _Cavalleria_, though this doesn't mean I don't like _Pagliacci_.

This is an early recording, conducted (or at the very least, supervised) by Leoncavallo itself:


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## DavidA (Dec 14, 2012)

Zeferelli's film with Domingo, Stratas and Pons is superb. Really catches the drama. OK Pretre is only a routine conductor but the theatrical power is really caught.


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## Belowpar (Jan 14, 2015)

gardibolt said:


> There's an interesting Italian film of the opera from 1948, with horror/special effects maestro Mario Bava as director of photography, that has Gobbi playing both Tonio and Silvio (not to mention an incredibly gorgeous and very young Gina Lollobrigida as Nedda--singing dubbed by Onelia Fineschi), as well as the Prologue. It's still available from the Bel Canto Society, so far as I know.


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## Tsaraslondon (Nov 7, 2013)

DavidA said:


> There is absolutely no doubt that Pagliacci is by far the best opera. As is the best performance on desk conducted by Karajan, who raises the level of the music beyond the usual,verismo caricature.


Oddly enough, I much prefer Cav. Pagliacci has never been a favourite of mine, and Karajan's recording, though beautifully played and sung, lacks some of the drama you hear in others. Bergonzi is just a bit too polite for my taste, and Carlyle a rather conventionally tartish Nedda. I wish Vickers had recorded the role, but Domingo makes an interesting Canio (an aging bully) in the Zeffirelli film (pity about the conducting). Stratas is a wonderfully feminine Nedda, a young passionate woman trapped in an unhappy, childless marriage. Callas, in the Serafin recording, is also suitably multi-faceted, and we also get Gobbi as Tonio, Panerai as Silvio and Nicola Monti as Beppe, which might well be considered luxury casting.

That said, I listen to *Cavalleria Rusticana* much more often, and whilst I like best the thrill and Sicilian passion of Serafin's recording with Callas and Di Stefano, I can still enjoy Karajan's gorgeously played account.


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## Ramiste (Nov 4, 2015)

I've always found Pagliacci the much lesser opera of the Cav-Pag duo.
I hardly ever listen to it anymore, but if I do it is for the stunning Canio of Jon Vickers.
One of his masterpieces, for sure.






Yet, my favourite bit in the whole opera is Beppe/Arlecchino's delicious serenata.
When performed with someone with such perfect diction and sense of style as William Matteuzzi it becomes a real gem of an aria.


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## The Conte (May 31, 2015)

I think Pagliacci is the better opera, but I would reach for a recording of Cav over Pag. Whilst I think that overall the classic Serafin recordings of the double bill are the best, I ADORE the vulgar excitement of Simionato, Corelli and Guelfi live from La Scala.

N.


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## Woodduck (Mar 17, 2014)

There's much more than curiosity value in these recordings of Canio's arias by a tenor we don't normally associate with Italian opera, Lauritz Melchior. Apparently Canio and Otello were the only non-Wagnerian roles in his repertoire, and I don't think he sang them often, but his recorded Otello excerpts are phenomenal, and these are pretty amazing too. The "Vesti la giubba," from 1929, is in German; the "No! Pagliaccio non son," from 1947, is in Italian. The voice is as secure and brilliant at the age of 57 as it was eighteen years earlier.


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## howlingfantods (Jul 27, 2015)

Woodduck said:


> There's much more than curiosity value in these recordings of Canio's arias by a tenor we don't normally associate with Italian opera, Lauritz Melchior. Apparently Canio and Otello were the only non-Wagnerian roles in his repertoire, and I don't think he sang them often, but his recorded Otello excerpts are phenomenal, and these are pretty amazing too. The "Vesti la giubba," from 1929, is in German; the "No! Pagliaccio non son," from 1947, is in Italian. The voice is as secure and brilliant at the age of 57 as it was eighteen years earlier.


Here's Max Lorenz, if you're interested. Like with their Tristans, I think Melchior sings more beautifully, but I find Lorenz more compelling and vivid.






I love these view counts on these videos. I guess not that many other people are interested in heldentenor takes on verismo arias.


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## Woodduck (Mar 17, 2014)

howlingfantods said:


> Here's Max Lorenz, if you're interested. Like with their Tristans, I think Melchior sings more beautifully, but I find Lorenz more compelling and vivid.
> 
> 
> 
> ...


Lorenz is certainly intense, as always. He had a certain wildness, an almost mad brinksmanship, in his vocal production, rather like Martha Modl's. That began to hurt him the 1940s, but he seems to be in his prime here, and very compelling. Nonetheless I prefer the top-to-bottom solidity and focused vibrancy of Melchior, whose vocal prime far outlasted Lorenz's. Needless to say we'd be ecstatic to have either of them around now to rescue Wagner from the heldenwannabes.


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## gardibolt (May 22, 2015)

Woodduck said:


> There's much more than curiosity value in these recordings of Canio's arias by a tenor we don't normally associate with Italian opera, Lauritz Melchior. Apparently Canio and Otello were the only non-Wagnerian roles in his repertoire, and I don't think he sang them often, but his recorded Otello excerpts are phenomenal, and these are pretty amazing too. The "Vesti la giubba," from 1929, is in German; the "No! Pagliaccio non son," from 1947, is in Italian. The voice is as secure and brilliant at the age of 57 as it was eighteen years earlier.


Many thanks for these! For some reason I had no idea he did anything other than Wagner, but of course he must have---even though he did his Wagner in superhuman quantities.


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## anmhe (Feb 10, 2015)

I'll admit that I've avoided this opera due to my hatred of clowns (Rigoletto was a jester, not a clown, know the difference!). All these posts have made me finally want to listen to this.


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## howlingfantods (Jul 27, 2015)

anmhe said:


> I'll admit that I've avoided this opera due to my hatred of clowns (Rigoletto was a jester, not a clown, know the difference!). All these posts have made me finally want to listen to this.


That's totally understandable. There's nothing quite like the horrorshow of opera singers dressed as clowns. These things are nightmare fuel.

"We're here to eat your souls"


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## DavidA (Dec 14, 2012)

No question in my mind that Pagiiacci is by far the greater work although Cav has its moments. Confirmed when I saw the double bill from the Met even though neither performance was exactly special.


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## Sloe (May 9, 2014)

DavidA said:


> No question in my mind that Pagiiacci is by far the greater work although Cav has its moments. Confirmed when I saw the double bill from the Met even though neither performance was exactly special.


It is a better story but I think story have one vote and music have two votes when it comes to ranking of operas.


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## DavidA (Dec 14, 2012)

One or two points of interest from Wiki

Leoncavallo originally titled his story Il pagliaccio (The Clown). The baritone Victor Maurel (below), who was cast as the first Tonio, requested that Leoncavallo change the title from the singular Il pagliaccio to the plural Pagliacci, to broaden dramatic interest from Canio alone to include Tonio (his own role)









The title is sometimes incorrectly rendered in English with a definite article as I pagliacci. "Pagliacci" is the Italian plural for "clowns", and "i" is the corresponding plural definite article. In correct Italian, an article is put in front of the noun, but the article is not applicable here.

In the original manuscript, Tonio sang the opera's final line, "La Commedia è finita!", paralleling the prologue, also sung by Tonio. The appropriation of this final line by Canio dates back to 1895. John Wright has analysed the dramaturgy of the opera in the context of assignment of the final line, and concluded that the original assignment of the final line to Tonio is the most consistent and appropriate assignment. Wright says that Tonio shows more deliberate control in his manipulation of the other characters in order to obtain his revenge upon Nedda, after she has rejected him, and is more aware of the demarcation between life and art. By contrast, Canio is unaware of the behind-the-scenes manipulations and surrenders control of his perception of the difference between life and art as the opera proceeds.

From Opera:
"In 1924, whilst touring Italy with the purpose of hearing little-known Catalani operas, I had the pleasure of meeting Signora Leoncavallo. She told me that her husband (who was really a more subtle psychologist than is generally recognised) preferred the original version, as Canio was obviously too overcome by anguish and despair to be able to sing or speak the words convincingly."

In 1907, Pagliacci became the first opera to be recorded in its entirety, with the Puerto Rican tenor Antonio Paoli as Canio and under Leoncavallo's personal supervision.


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## Woodduck (Mar 17, 2014)

Some productions have returned to the original conception in having Tonio speak the line. I agree with this.


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## gardibolt (May 22, 2015)

It does seem more appropriate.


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## DavidA (Dec 14, 2012)

Caruso's caricature of himself as Canio


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## DavidA (Dec 14, 2012)

"Leoncavallo's opera Pagliacci is a vehicle for the tenor, yet every baritone wants to sing the relatively minor role of Tonio. The reason is simple - the prologue. It's a sensational aria for a Verdi style baritone that ends in a high A-flat followed by a high G. It's sung in front of the curtains with the singer clothed in his clown suit - the more outrageous the better. It's also the reason for productions of the opera to have its famous last line - La commedia è finita (The comedy is ended) - given back to the baritone as was originally intended before Enrico Caruso appropriated it. Tonio starts the piece with commentary about what's to follow and should conclude it." (See more at: http://medicine-opera.com/2014/09/pagliacci-il-prologo/#sthash.KrTE7cCz.dpuf)


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## DavidA (Dec 14, 2012)

Ramiste said:


> I've always found Pagliacci the much lesser opera of the Cav-Pag duo.
> I hardly ever listen to it anymore, but if I do it is for the stunning Canio of Jon Vickers.


It's amazing but it does not appear Vickers made a commercial recording of Canio, apart from his filmed version with Karajan which is spoiled by being mimed and badly lip-synched. They need to release the soundtrack on CD.


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## Itullian (Aug 27, 2011)

DavidA said:


> It's amazing but it does not appear Vickers made a commercial recording of Canio, apart from his filmed version with Karajan which is spoiled by being mimed and badly lip-synched. They need to release the soundtrack on CD.


That's why I hate and will not watch movies of operas.
Only live for me.


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## DavidA (Dec 14, 2012)

Itullian said:


> That's why I hate and will not watch movies of operas.
> Only live for me.


Depends how they are done. Zeferelli'so film of Pag is very well done. Others are not.


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## Bardamu (Dec 12, 2011)

Pagliacci has a captivating libretto which leverage on the then booming Cavalleria Rusticana's trend and Vesti la giubba is an immortal aria.
However from a music stand point I find Leoncavallo's opera to be not so good especially if compared to Mascagni first work.


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## mountmccabe (May 1, 2013)

There was some discussion here of the final line; can anyone explain why it was ever given to Canio? Other, than, well, Canios typically have the bigger ego?

I am not terribly familiar with the opera, but it seems like a lot of what is going on, especially in the second act, is that Canio is overwhelmed by the story he is supposed to be acting in due to its power and how closely it mirrors his own life. And thus the murders at the end are crimes of passion, in a fit of rage. All this serves to push the idea of the power of art. But if he is self-aware enough to give the final line that makes it seem like he planned the whole thing (rather than Tonio) and was just acting, and there's nothing in particular to be said about anything; he's just a cruel man pretending to be involved in the story he was portraying.

I am thinking about this in part because I am seeing the opera - for the first time live - on Sunday. The production is by José Cura. The afternoon also includes _Cavalleria rusticana_, and Cura has linked them such that the characters of one opera are seen in the other. Similar to Damiano Michieletto's production (originating (?) in 2015 at the ROH, seen since at several other houses) Silvio works for Mamma Lucia. But while Michieletto assigns the final line to Tonio, Cura gives it to Mamma Lucia.


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## The Conte (May 31, 2015)

I think you are correct with your assessment of Canio's psychological state and what is happening in act two. Perhaps Canio only realises what he has done after the murders and his 'La commedia e' finita' comes after he has woken from his rage. The final line quite simply means, 'the play is over'. (Commedia meaning comedy, but also play in general.) It does also mean the comedy is over, though. It makes sense for the catharsis of the murders whilst in character to spring Canio out of character, realise what he has done and for him to announce that the play is over.

The line is even more effective when delivered by Tonio and interpreted as 'The comedy is over', dark, bitter and ironic. I'm not sure how it would work in a production with Mama Lucia saying the line after her employee is murdered, but perhaps you will feed back?

N.


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## mountmccabe (May 1, 2013)

The Conte said:


> I'm not sure how it would work in a production with Mama Lucia saying the line after her employee is murdered, but perhaps you will feed back?


I will certainly present my thoughts!

The conception as far as I understand it - largely from a comment from the Mamma Lucia herself, even - was that the meaning is along the lines of "Enough of this!" That is first at Easter her son is killed, and then at the Feast of the Assumption her best employee is killed, both due to infidelity, jealous, and cruelty. If this way of life continues, everyone in the town will die, and she is broken up about it.

And yeah, I suppose it could be played as a Canio snapping back to reality and understanding what he has done. That would take some acting chops to pull off, as it is a very quick reversal.

But thinking on it more I'm less convinced that giving the line to Tonio is great either. One argument I have heard is that it creates a bookend as he gave the prologue, too. I would find it more convincing if this line felt more connected to the prologue. The Tonio revelling in having had his revenge without getting his hands dirty doesn't seem like the person from the prologue, asking the audience to sympathize with the actors.


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## The Conte (May 31, 2015)

mountmccabe said:


> I will certainly present my thoughts!
> 
> The conception as far as I understand it - largely from a comment from the Mamma Lucia herself, even - was that the meaning is along the lines of "Enough of this!" That is first at Easter her son is killed, and then at the Feast of the Assumption her best employee is killed, both due to infidelity, jealous, and cruelty. If this way of life continues, everyone in the town will die, and she is broken up about it.


That actually makes sense. It also echoes "La pacchia e' finita" a current political slogan, "The fun is over!" and could be an ironic comment on the state of politics in present day Italy.

N.


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## DavidA (Dec 14, 2012)

mountmccabe said:


> There was some discussion here of the final line; can anyone explain why it was ever given to Canio? Other, than, well, Canios typically have the bigger ego?
> 
> I.


I believe it was Caruso the first Canio who wanted the line. Of course, it makes more dramatic sense when Tonio sings it as he introduces the play


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## Woodduck (Mar 17, 2014)

mountmccabe said:


> I will certainly present my thoughts!
> 
> The conception as far as I understand it - largely from a comment from the Mamma Lucia herself, even - was that the meaning is along the lines of "Enough of this!" That is first at Easter her son is killed, and then at the Feast of the Assumption her best employee is killed, both due to infidelity, jealous, and cruelty. If this way of life continues, everyone in the town will die, and she is broken up about it.
> 
> ...


There's good reason for Tonio to have the last word. As in the prologue, he delivers a comment, not in character but as an actor stepping forward to address us, the audience in the theater, while Canio, trapped in his character by rage and grief, collapses onstage. How should he deliver his line? How much can he convey in a few words? Can he speak simultaneously as Tonio, as himself, and as us, in some blend of triumph, irony and sorrow? However he imagines it, it should be much more interesting than anything Canio could express at this moment.

Mamma Lucia???


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## nina foresti (Mar 11, 2014)

I too think the composer's choice was a better one than Canio uttering the words. 
When I first pictured Mamma Lucia saying the line I snickered and thought it was a weird joke. However, as I mulled it over, I began to envision another way of looking at it -- somewhat like the cops after a street riot saying, "ok folks, the show's over, move on" which made sense to me and a creative out-of-the-box way of seeing it without disturbing the writer's intent. So, bravo Cura (I don't say that often!)


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## mountmccabe (May 1, 2013)

Woodduck said:


> There's good reason for Tonio to have the last word. As in the prologue, he delivers a comment, not in character but as an actor stepping forward to address us, the audience in the theater, while Canio, trapped in his character by rage and grief, collapses onstage. How should he deliver his line? How much can he convey in a few words? Can he speak simultaneously as Tonio, as himself, and as us, in some blend of triumph, irony and sorrow? However he imagines it, it should be much more interesting than anything Canio could express at this moment.


I agree that Tonio makes more sense than Canio. And that's an interesting thought, about the mix of roles: singer, Tonio, and Taddeo. And the entire opera is about the blending of such roles, so having them come together at the end makes a lot of sense.

In Cura's production the prologue was delivered with Dimitri Plantanias dressed as Leoncavallo. After the prologue he switched into his Tonio outfit. The same singer had just sung Alfio, but I don't think that was meant as an opera-linking connection (his Leoncavallo outfit matched neither his Alfio nor his Tonio).

There was also a Mascagni onstage during _Cavalleria rusticana_, often watching the action. He was particularly intrigued by the supers that helped the clowns putting up their advertisements during the prelude. That is, Canio and Tonio were not there, but Nedda was, and she embraced Silvio.

Pagliacci takes place at the same place in the town. Mamma Lucia's wine shop is (in both operas) a restaurant/bar. Canio and Beppe visit it while Nedda and Tonio (and then Silvio) have their time alone. Lola and Alfio live above Mamma Lucia's (which, yes, doesn't make sense or requires extra contrivances to make any sense). Santuzza also appears frequently, approaching her third trimester (the operas are presented as at their religious days as written, in the same calendar year).

Tonio still got to have his look of triumph, even if he didn't get the line. It worked enough, I suppose, for it to be given to Mamma Lucia.

All in all this was a very detailed, very full production. It seems a very fitting approach for Verismo operas (whereas such details may be far more difficult to pull off in a symbolist work like say _Pelléas et Mélisande_). I expect I would have appreciated more if I was more intimately familiar with the operas, such that I wasn't confused trying to pick out who was important in the prelude to _Cavalleria rusticana_.

I expect it would do very well on a second viewing and I suppose if I was more taken by much more than Ekaterina Semenchuk's Santuzza I would be more likely to give it another shot (as it stands I am considering the final performance, but I'm not convinced I need to).


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## adriesba (Dec 30, 2019)

Yes, DavidA! I do wish Vickers's performance was on cd!


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## Rogerx (Apr 27, 2018)

adriesba said:


> Yes, DavidA! I do wish Vickers's performance was on cd!


The one you posted will do and this one;


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## adriesba (Dec 30, 2019)

A different Vickers performance is available at OperaDepot: https://operadepot.com/products/leoncavallo-pagliacci-vickers-carlyle-macneil-bartoletti
I wonder if it's good.


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## Rogerx (Apr 27, 2018)

adriesba said:


> A different Vickers performance is available at OperaDepot: https://operadepot.com/products/leoncavallo-pagliacci-vickers-carlyle-macneil-bartoletti
> I wonder if it's good.


It has two good reviews, I bought a lot there ( on CD) but actually never been disappointed .


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## adriesba (Dec 30, 2019)

Rogerx said:


> It has two good reviews, I bought a lot there ( on CD) but actually never been disappointed .


I haven't bought anything from them yet. I suppose I could get the _Pagliacci_ since it's cheap enough, but I'd rather wait till they have the CDs again.


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## nina foresti (Mar 11, 2014)

You can't go wrong with the Vickers/Carlyle/Macneil. It's THE one to have.


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## nina foresti (Mar 11, 2014)

I own a pirate version that is totally spectacular. Even Speight Jenkins then manager of SFO claimed Vicker's performance to be the most superb rendition he ever heard. The soprano, Elena Mauti-Nunziata said that she actually feared for her life as Vickers' performance was so completely realistic.


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## vivalagentenuova (Jun 11, 2019)

A great historic _Pagliacci_, probably the first complete recording. All the principals are great, but I particularly enjoy Iva Pacetti, a very underrated soprano who has a dark and powerful voice. Basiola was a student of Antonio Cotogni, and apparently learned his roles from him note for note. It is a wonderful voice, with an especially impressive top. Gigli is great as always.


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## aussiebushman (Apr 21, 2018)

I have no argument against Vickers but I'm surprised that no-one here has mentioned *Frank Mullins* once described as the "best ever" Canio. I heard this recording on a John Cargher "singers of renown" broadcast many years ago and have never forgotten it.

I can't find any reference to any recording other than a 1926 78 RPM and nothing on Youtube.

For those unfamiliar with Cargher, here is a link to some of his finest broadcasts:

https://www.abc.net.au/rn/legacy/programs/singersofrenown/default.htm


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## ALT (Mar 1, 2021)

Thoughts on this relatively new recording of *Pagliacci* (paired with Cavalleria)?















Grazer Philarmoniker
Chor der Oper Graz
Conducted by Oksana Lyniv
Canio - Aldo di Toro
Nedda - Aurelia Florian
Tonio - Audun Iversen
Beppo - Martin Fournier
Silvio - Neven Canić


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