Pagliacci (; literal translation, 'Clowns') is an Italian opera in a prologue and two acts, with music and libretto by Ruggero Leoncavallo. The opera tells the tale of Canio, actor and leader of a commedia dell'arte theatrical company, who murders his wife Nedda and her lover Silvio on stage during a performance. Canio portrays on stage the character of Pagliaccio (Pierrot), while Nedda portays Pierrot's unfaithful lover Columbina.
Pagliacci premiered at the Teatro Dal Verme in Milan on 21 May 1892, conducted by Arturo Toscanini, with Adelina Stehle as Nedda, Fiorello Giraud as Canio, Victor Maurel as Tonio, and Mario Ancona as Silvio. Soon after its Italian premiere, the opera played in London (with Nellie Melba as Nedda) and in New York (on 15 June 1893, with Agostino Montegriffo as Canio). Pagliacci is the best-known of Leoncavallo's ten operas and remains a staple of the repertoire. Pagliacci is often staged with Cavalleria rusticana by Pietro Mascagni, a double bill known colloquially as "Cav/Pag".
Origin and disputes
Leoncavallo was a little-known composer when Pietro Mascagni's Cavalleria rusticana premiered around 1890. After seeing Mascagni's success, Leoncavallo decided to write an opera in response: one act composed in the verismo style.
Leoncavallo claimed that he based the story of Pagliacci on an incident from his childhood: the 1865 murder of a Leoncavallo family servant, Gaetano Scavello, killed by Gaetano D'Alessandro, with his brother Luigi acting as accomplice. The incident stemmed from a series of perceived romantic entanglements involving Scavello, Luigi D'Alessandro, and a village girl with whom both men were infatuated. Leoncavallo's father, a judge, presided as magistrate over the criminal investigation.
Leoncavallo originally titled his story Il pagliaccio (The Clown). The baritone Victor Maurel, who was cast as the first Tonio, requested that Leoncavallo change the title from the singular Il pagliaccio to the plural Pagliacci (Clowns), to broaden dramatic interest from Canio alone to include Tonio (his own role).
The French author Catulle Mendès sued Leoncavallo for plagiarism after learning of the plot of Leoncavallo's libretto from an 1894 French translation. Mendès thought it resembled his 1887 play La Femme de Tabarin ("Tabarin's Wife"), which was structured as a play-within-the-play and featured a clown murdering his wife. Leoncavallo pleaded ignorance of Mendès's play.
Composition
The opening Prologue was written for Maurel "as an afterthought", as Leoncavallo said in a conversation with the critic and singing teacher Herman Klein during his visit to London for the UK premiere in 1893: he wrote it "as an inducement to a clever, but rather egotistical baritone to sing the part of Tonio, who felt it wasn't important enough for an artist of his distinction. Perhaps he was right. Anyhow I thought the matter over and hit upon the idea that a prologue, sung before the curtain by one of the humblest characters, would prove something of a novelty and by no means out of place. Being, as you know, my own librettist, I quickly wrote the words and sketched the music. My baritone was delighted, both with the notion and the result, and I am bound to add that it proved one of the most striking features of the opera when I brought it out at the Dal Verme, Milan, just a year ago."
Towards the end of the prologue, singers often interpolate a high A and a high G, although these do not appear in the original full score. In an Australian newspaper article in December 1893, the baritone Guigliemo Caruson, who had already sung the part in Genoa earlier that year said that "whilst rehearsing under Signor Leoncavallo's immediate direction, the composer gave his consent to the interpolation remarking that it was very effective, but that he would not add it to the score as he did not wish to force the note upon voices it did not suit."