Learn More about Pagliacci

THE MAN BEHIND THE OPERA

Leoncavallo on a 1910 postcard

Although Pagliacci was written over 120 years ago in Italy, you will likely recognize the music today. Not only is it still one of the most performed operas around the world, but the music is often used in movies, commercials and even cartoons! Italian composer Ruggero Leoncavallo tapped into a long tradition of theater arts, bringing to life the old improvisational drama — commedia dell’arte — in a way that would be both brand new and timeless for audiences.

Leoncavallo was born in Naples, Italy in 1857, the son of a distinguished local judge. He studied music composition and literature. His uncle, who worked for the Foreign Ministry, gave him the opportunity to be widely traveled by the time he was in his early 20s, and he even had the opportunity to work as a pianist and music teacher in Cairo, Egypt for a time. Leoncavallo also lived for a few years in the Montmartre neighborhood of Paris — where many artists from all over Europe congregated — and where he met his wife. After they married, the couple returned to Italy with a commission from a music publisher to compose an opera and to work on a libretto for another opera that was being composed by Giacomo Puccini (La bohème).

Before he finished either of these commissions however, Leoncavallo saw Pietro Mascagni’s oneact opera Cavalleria Rusticana and was inspired to write a response to it. He composed and wrote the original libretto for Pagliacci in only five months! The story was inspired by a murder trial that his father had presided over when Leoncavallo was a child.

When Pagliacci premiered in May of 1892, it was an instant hit, and has remained one of the most beloved operas to this day. The opera established Leoncavallo not only a masterful composer, but also a sought-after librettist. Although he went on to compose 20 operas and operettas, his legacy rests solely on his debut opera. Leoncavallo died in Tuscany at the age of 62, and his funeral was attended by hundreds of admirers who came to pay their respects, including his life-time rival, Giacomo Puccini.

The opera was composed in the emerging verismo style — meaning “real” — in response to the overly grandiose Romantic music that preceded it. Verismo opera featured common problems of normal people expressing real emotions. Other verismo operas include La bohème and Tosca (Puccini), and La traviata (Verdi). Since Pagliacci was written as a response to Mascagni’s opera, the two are often performed together as a “double-bill” and are referred to in short-hand as “Cav” and “Pag. “

PLAGERISM?

It is quite common for artists to be inspired by existing works of literature or artwork. Often a story is reimagined and retold over and over like Cinderella, or Romeo and Juliet. Yet, Leoncavallo took his plot for Pagliacci from real-life events that he had remembered from his childhood. However, two years after its premiere, a French playwright sued him for plagiarism, claiming that Leoncavallo had stolen the plot of his play La Femme de Tabarin that premiered five years before Pagliacci. Later, a Spanish playwright accused the French playwright of stealing his play, which premiered 20 years before that! All lawsuits were dropped.

REFLECT:

Artists tell stories that inspire them and sometimes, this forms a thin line between plagiarizing another’s work and being inspired by what came before to create something new. When do you think it is appropriate to use another’s ideas? When is it plagiarism and when is it not?

THE TRUTH, THE WHOLE TRUTH, AND NOTHING BUT THE TRUTH

Verismo is an Italian word meaning realistic, or true. It was an artistic movement that was embraced by composers, painters, and writers alike that began in Italy in the late nineteenth century. The artists were rebelling against artistic styles that were taught in schools. In literature, writers would incorporate new scientific truths into fictional narratives, while painters took to the outdoors to capture the accuracy of shade and color as seen in natural sunlight. These painters were predecessors to the Impressionists, including Monet and Degas who came soon after.

In music, composers were rebelling against the popular style that we now refer to as the Romantic style. These composers were not interested in creating art song and operas about mythical gods, or fairy tales, but rather the stories of ordinary people. Characters were completely consumed by overwhelmingly raw emotions — tales of lust, jealousy, and murderous revenge were realistically presented, and the music was appropriately violent and impassioned to match. Shrieks, laughter, and sobs are included, which is best heard in Canio’s aria, “Vesti la giubba.”

In fact, Pagliacci is considered one of the first operas to be written in this new style, second only to its inspiration, Cavalleria Rusticana. The style would become most famous through the work of Giacomo Puccini whose notable operas include: La bohème, Tosca, and Madama Butterfly.

DISCUSS:

If you were to write a contemporary opera using the concept of verismo, what would it be about, and in what ways would you choose to depict raw emotion through music?

ITALIAN THEATER: THE CONVENTIONS OF COMMEDIA DELL’ARTE

Commedia dell’arte is a form of improvisational theater that began in Italy in the 16th Century and became highly popular as traveling troupes performed for all people outside in very public places like in the streets and market places.

Each of the actors created their characters and improvised unscripted storylines (drawn initially from Greek and Roman mythology) using limited props they had available to them. Over time, these characters became identifiable through their costumes and masks with exaggerated features, as well as physical feats like acrobatics and dancing. Each performance was based on a standard plot and the actors would improvise their lines, allowing them to add dirty jokes and subversive language that would comment on current events. Imagine if the skits from late-night comedy on television or even YouTube videos were performed live in the city streets with the addition of acrobatics!

Before the performance began, the actors chose the plot for the day and decided on the outline, the characters and relationships involved, and the outcome of the story. Common elements of each performance were the Prologue or introduction, several acts or sections, the talents and tricks each character would use in order to develop the story such as acrobatics, dance, music, poetry and songs, and finally, brief comedic interludes called lazzi. During the lazzi, the most experienced and popular actors would tell jokes and perform pantomimes, acrobatics, juggling or wrestling to keep the crowds engaged.

THE CAST OF CHARACTERS

When commedia dell’arte began, actors used distinct masks that were readily available and eventually developed their characters into a well-known cast of stock characters. As the years passed, audiences became very familiar with the characters and their particular set of traits — much of which relied upon the actors’ ability to use language and to manipulate their voice in order to differentiate between the characters. Actors would play the same character over and over again, yet these characters would be seen in endless combination — no two performances were exactly alike — but the characters were always recognizable.

ARLECCHINO, OR HARLEQUIN

One of the most famous commedia characters is Arlecchino. He is part of the servant class or zanni. His signature costume is a body suit of bright, multi-colored patches that later developed into the classic diamond-pattern and a mask that covers the upper-half of his face, with long nose. He is a talented acrobat, constantly hungry, and a simpleton. His character is a faithful servant known for his comic relief and love for shenanigans. He often develops a close relationship with the audience by gesturing to them and encouraging them to get involved in the action.

COLOMBINA

Another member of the zanni, Colombina (sometimes known as Arlecchina) is the clever, mischievous and flirtatious maidservant. She and Arlecchino get involved in subversive plots together so her costume is complementary to his — with colorful patches all over her dress and apron. Her mask covers only her eyes so it doesn’t hide her beauty. Her storylines typically drive the plot, as she is the subject of love matches, or as she devises plans to annoy the frustrated innamorati (the lovers).

IL DOTTORE

The most demonized character in every scenario is Il Dottore (The Doctor). He is one of the vecchi (characters who are old and cranky). A wealthy, well-educated man, he is hopelessly unsuccessful in his romantic pursuits. He tries to impress other characters with his knowledge by rambling on about a topic, but misuses vocabulary and makes things up, which always causes confusion. He wears a traditional doctor’s outfit — black with either a beret or doctor’s hat. His mask covers the top half of his face and has a large, bulbous nose.

IL CAPITANO

The bully, Il Capitano (The Captain), is portrayed either as part of the zanni or vecchi. Modeled after a Spanish soldier, The Captain—long past his prime— boasts of his bravery and conquests, but reveals his cowardice when faced with danger. He would appear in a military uniform with a sword which he would brandish with great flair, but was reluctant to put to use. His mask featured a long, pointed nose, and angry expression and a wiry, black mustache.

SCARAMUCCIA

A character variation on Il Capitano, Scaramuccia is a devious and unreliable servant. He enjoys getting involved in sticky situations, and avoids blame or consequences at all costs. His costume is an all-black ensemble with a cloak, a beret, and a half-face mask with a long pointy nose and a mischievous expression.

INNAMORATI

The Lovers are young characters, male and female, who are hopelessly in love, but are never able to be together! They ask the zanni to help them play tricks on the vecchi so that they can meet in secret, but the zanni always have other plans, causing calamity among all of the characters. The Lovers are always dressed in the latest fashions and instead of masks, they wear a lot of makeup.

PANTALONE

A native of Venice, Pantalone is a member of the vecchi, and a former merchant who is obsessed with money and romantic entanglements. His stories are centered around his pursuits to obtain money and women. His character is dressed in red from head to toe, and his mask has exaggerated, long,white eyebrows and mustache.

PEDROLINO

Ever loyal, Pedrolino is a trustworthy and honest servant who is unfortunately a victim of many pranks by his fellow zanni. His character is also known as Pedro or in the French theater tradition as Pierrot. His costume is a loose white outfit with large buttons and a ruffle at the neck. And similar to the innamorati, he wears white-face powder instead of a mask.

PULCINELLA

More commonly known for his English theater name, Punch, Pulcinella is portrayed as a humpbacked, hooked-nosed and pot-bellied fellow who is at odds with authority figures due to his brutal and vindictive character. He is known to be cranky and beats people with his batacchio (slapstick) whenever possible. His character wears a mask with a large, long nose and an allwhite costume similar to Pedrolino.

BRIGHELLA

This greedy and clever member of the zanni, is an opportunistic jack-of-all-trades who is ready to assist his master with any task, no matter how cruel. His jacket and pants have green stripes and he wears a green mask that has a hooked nose, mustache and black shaggy beard.

DISCUSS:

Do you see similarities with these old characters and ones you know in your favorite TV, movies, or plays and musical theater? In what ways?

CLOWNING AROUND

The history of clowning dates back to Ancient Greece, Rome, Egypt, and China, each with their own traditions. Many clowns were employed as personal funny-men by royalty, thus beginning the long court jester tradition. One of the earliest uses of the word “clown” was found in Shakespeare’s Hamlet, the word driving from the Dutch klunni meaning clumsy and boorish.

The earliest circused were in fact, gladiator competitions and later, chariot races in Ancient Rome. Our modern concept of a circus gradually took form during the Industrial Age, combining traditions of animal performances, traveling minstrels, jesters, juggles, acrobats, puppeteers, and magicians—many of whom worked on the streets as what we now know as buskers. These performers often amused the aristocracy and nobility who would solicit them for private performances. In the 1600s, commedia dell’arte troupes were the first professional traveling performers and began to bring legitimacy to the trade.

Early members of commedia dell’arte troupes were marginalized members of society. Eventually commedia performances became formulaic and frequently sought-after by the upper classes for entertainment. They earned a more respected social status, separating themselves from the bawdy, uncivilized lower classes. In France, a new form of live variety show called opéra comiques en vaudevilles emerged at various Parisian fairgrounds that included short musical-comedy plays, as well as marionettes, tightrope walkers, and animal trainers, later inspiring circus traditions.

In addition to opéra comique in France, the circus also has roots in a London school for trick-riding horses, later including acrobats and dancing dogs. Many people attribute this as the first modern-day circus. These horseback performers adopted the commedia characters’ identities and costumes. Eventually, the clown-like commedia characters with similar, recognizable costumes also brought an element of clowning to give commentary to these horseback performances.

By the 1700s, there were three established types of clowns. The white-faced clown was the “boss” and received top billing. His costume is borrowed directly from the commedia Pedrolino and is the same kind of clown that Leoncavallo makes Canio. The second type is the auguste. They are the brunt of every physical joke and dressed in colorful clothing. Their makeup is what we might think of when we say “clown” with flesh-tone face and eyes and mouth encircled in white with red and black to accentuate the features. The final type is called the character clown, who plays opposite to the auguste. They often depict an exaggerated caricature of a baker, policeman, or butcher.

As clowning evolved, clowns continued to draw some of their comedic techniques from commedia dell’arte, bringing their pantomime and physical

comedy to the Iazzi or interludes between other acts meant for comic relief. Sometimes they were known to hit each other with a noisy slapstick — a narrow wooden board with two pieces of wood that clap together to make a percussive sound, much bigger than the actual hit. This kind of comedy is now known simply as slapstick referring to physicality of actors or clowns pretending to get hurt. Slapstick traditions continued into the theater and later motion pictures, with famous comedians such as Charlie Chaplin using these old commedia techniques.

After the circus reached the United States, in Philadelphia in 1793, it quickly began to change to meet the demands of new audiences. P.T. Barnum revolutionized the circus, moving away from clowns and trick horses and toward what was then known as the freak-show. From the late 1800s through the middle of the 1900s, traveling circuses were the most popular form of entertainment nationwide. Although clowning has not at all disappeared, it has continued to evolve throughout the centuries, and often some element of clowning is retained in the circus.

DISCUSS:

What other ways do you see modern comedy mimicking or borrowing from commedia dell’arte traditions?

WOMEN ON STAGE

This Italian theater form of commedia dell’arte (improvised comedic theater) not only influenced Leoncavallo’s opera Pagliacci, but its convention and popularity had a strong influence on how women were able to find the spotlight on stage. Commedia dell’arte was among the first forms of theater to feature women playing female roles. For many years, only men were allowed to perform on stage as professionals, but women soon carved out their own legacy in the world of theater.

532 BCE

Theater gets its start from ancient Greek traditions of drama: comedy and tragedy. The many female heroines and goddesses of Greek mythology meant women were worshiped in Greek society, but women were forbidden from the stage by the early Christian church. Therefore, men would also play female characters.

1st - 9th Centuries

With the rise of Christianity, the theater was deemed amoral, as early Christians set to distinguish themselves from Greek and Roman traditions. Eventually, the Church began to use theater to relate dramatic teachings in morality plays, beginning with dramatizing biblical events on certain feast days. Because the populations were largely illiterate, this method proved effective for instructing the crowds as the dramatizations were largely recited or sung, rather than acted.

10th Century, Germany

German nun Hrothsvitha is considered to be the first female playwright. Writing mainly comedies, she highlighted the strength of her female characters with scenarios in which woman’s tranquility triumphs over man’s brutality. Hildegard of Bingen, also a German nun, soon followed by writing the first Latin musical drama in 1155.

16th Century, Europe

Starting in Italy, the first documented commedia dell’arte performance was around 1551. This type of improvised acting with masks used ancient traditions from the Early Roman Empire.

It was one of the first forms of what we now know as modern theater, in which female roles were played by women. As commedia dell’arte gained immense popularity and spread throughout Europe, women were slowly recognized as professional actors, despite attempts from the nobility to ban them from the stage. As a member of the famous Gelosi company of Italian actors, Isabella Andreini became the world’s first celebrity actress. Within the conventions of commedia dell’arte, women were either paired with a young man to make up the young couple, called innamorati (lovers), or they played lowly servant characters.

16th - 17th Century, England

Meanwhile in England, although William Shakespeare introduced many fierce, independent female characters into his plays, it was illegal for women to appear on stage. After some time, King Charles II, who had spent years in exile and was an avid theater patron, appointed his own royal theatre troupe where it was a legal requirement for women to play all female acting roles. Soon, theater in England was accessible to everyone, from the lower and middle classes, as well as the court. Margaret Hughes was the first English woman to perform on a public stage, and she played the role of Desdemona in the King’s Company production of Shakespeare’s Othello in 1660. Soon after, Aphra Behn, was the first woman to earn a living as a playwright, with her first play, The Forc’d Marriage, staged in England in 1670.

17th - 18th Century, Europe

Opera was born with the premiere of Monteverdi’s Orfeo in 1607. Men with unchanged high voices called castrati, would usually sing female roles in place of women. By the late 17th century, women started to perform pants roles in opera. This is a male role written for female voice, typically a mezzosoprano. Soon after, changes in operatic taste and social attitudes meant composers were no longer writing for castrati. The Baroque era celebrated the female voice, granting women the leading roles in operas. These leading ladies were referred to as a prima donna, or first woman. Eventually, women had greater opportunities to pursue musical careers, especially as singers, but also as instrumentalists and composers. The best performers earned fame and fortune, which would continue into the next centuries.

19th - 20th Century, United States

By the late 1800s, women attended more performances and assumed more professional roles in the arts than ever before. American opera singers were becoming world famous, and Broadway opened its doors to women who were eager to make a name for themselves. Though audiences loved to welcome the next prima donna to the American stage, female singers of color, including Marian Anderson, still faced much adversity. Later in the 20th Century, the creation of film and television opened even more avenues for women to pursue careers on screen as well as behind the camera. As more opera companies were formed and American music schools opened their doors to women, a new generation of classical singers was inspired to pursue careers in opera theater.

Today women are taking a seat at the table in all aspects of the theater—from opera to Broadway, films to television series. Yet women are still fighting to break down barriers and against the inequities that are ever-present in the industry including equal pay, equality in racial and ethnic representation, and a safe, respectful workplace free from harassment.

DISCUSS:

Who are some of your sheros in the performing arts, past and present? In what ways were they able to break boundaries?

THE RISE OF THE BIG TOP

The stage design of BLO’s production of Pagliacci is based on American traditions of carnivals, festivals, and the circus. Some of the design elements for this production were inspired by the aesthetics of the 2017 motion picture, The Greatest Showman, which follows the story of P.T. Barnum and his creation of one of the most famous circus troupes in all of history, Barnum and Bailey. The movie also features the Swedish opera singer Jenny Lind, who rose to popularity and fame in the 19th century after an American concert tour that was sponsored by P.T. Barnum.

While BLO’s production won’t be happening under a Big Top tent, there will be some recognizable elements of the circus from the moment you walk up to the venue. There will be greeters wearing colorful umbrella hats, food trucks, pop-up performances, carnival games, and food, like cotton candy. You’ll even be able to bring your snacks to your seat while you watch the opera! There will be plenty more surprises as the evening goes on and the drama of the opera unfolds.

REFLECT:

BLO’s production will take place in Steriti Ice Rink in the North End (without the ice though!). Can you imagine how the company will transform the rink into a carnival and opera performance space?

LISTEN UP!

Act 1: The Bell Chorus

The sounding of bells and the entrance of the bagpipers invite the boisterous crowd to attend the Evening Mass, which was an important part of the day among the Italian villagers. The chorus imitates the bells heard in the orchestra, which mimic the sound of church bells. Lighthearted, ringing sounds are echoed throughout the instruments. What images do you picture when listening to this chorus?

https://youtu.be/PnS0LsuNE8c

Act 1: Nedda’s Aria “Stridono lassù”

In a delicate moment of solitude, Nedda dreams of escaping her life and making a new start as she watches a flock of birds fly overhead, envious of their freedom. Nedda is reminded of her mother, who understood their songs. How does the orchestra depict the mood of this piece? What instruments are used? Listen to this version with famous soprano, Maria Callas singing Nedda’s aria: https://youtu.be/PxlcHEMPxbk

Act 1: Canio’s Aria “Vesti la giubba”

In one of the best-known tenor arias, the heartbroken Canio prepares himself for the evening’s performance, where he must turn his feelings of anguish and sorrows into comedy for the audience. The aria contrasts the comic, public face he must maintain, with the conflict of his inner emotions as a performer. This communicates the underlying idea of Pagliacci: the conflict and often combination between “real” life and “stage” life. The rising and falling of the orchestra matches the oscillating waves of emotion. The final two lines of the aria are notated to be sung “with great expression” and ending with weeping. Here, Plácido Domingo is portraying this moment:

https://www.youtube.com/watch?v=1hxonfpfuTY

This aria is also often used in popular culture. Here’s an example from the cartoon The Simpsons where Sideshow Bob sings the final verse of Canio’s aria in the episode when the Simpson family was traveling to Italy. Note he also recites the final line of Pagliacci: “La Commedia è finita!”https://www.youtube.com/watch?v=gyFygB7I_-A

This theatrical moment has also inspired others in musical theater. In the song “Mr. Cellophane” from the musical Chicago, the character Amos has a very similar dramatic moment to Canio. Both characters sing about feeling invisible, especially in relation to their wives. The final high note of “Mr. Cellophane” is almost operatic, expressing the same raw emotion that Canio does as he

sobs at the end of his aria. https://www.youtube.com/watch?v=WKHzTtr_lNk

Act 2: Beppe’s Aria “O Colombina”

The evening’s performance has begun. Beppe is now in character as Arlecchino, who serenades Nedda’s character Columbina from afar. He professes his love, asking her to come and meet him. The orchestra adds playful pizzicato, or plucking of the string instruments. Listen to one of the most famous tenors, Luciano Pavarotti depict this moment: https://youtu.be/cJaCLDV5MTY