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Masks, Minuets and Murder: Images of Italy in Leoncavallo's Pagliacci

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Masks, Minuets and Murder: Images of Italy in Leoncavallo's Pagliacci Journal oftht Royal Musical Association, 133 no. i 32-68 Masks, Minuets and Murder: Images of Italy in Leoncavallo's Pagliacci LAURA BASINI THE Teatro Dal Verme, Milan, on 21 May 1892. A man in commedia dell'arte costume slips through the curtains to beg the audience's attention. Si puó?... Si puo?... Signore!... SignorÜ ... Scusatemi se da sol mi presento. lo sono il Prologo: Poîchè in iscena ancor Le antiche maschere mette l'autore; In parte ei vuol riprendere le vecchie usanze, E a voi di nuovo inviami. Ma non per dirvi come pria: 'Le lacrime che noi versiam son false! Degli spasimi e de' nostri mártir Non allarmatevi!' No! No. L'autore ha cercato invece pingervi Uno squarcio di vita. Egli ha per massima sol che l'artista è un uom E che per gli uomini scrivere ei deve. Ed al vero ispiravasi. (Excuse me? May I? Ladies and gentlemen, forgive me for appearing alone. 1 am the Prologue: since the author is once more putting the old masks on stage, he would like to revive some of the old customs, and so sends me out again to you. But not to tell you, as in the past, 'The tears we shed are feigned! Do not alarm yourselves at our sufferings and our torments!' No! No. The author has sought instead to paint for you a slice of life. He takes as his maxim simply that an artist is a man and for men he must write. His inspiration was a true story.) The opera, of course, is Leoncavallo's Pagliacci. Over a century after the première, we are likely to know the details of the story that follows: how Tonio, who sings the prologue, is a performer in a travelling commedia dell'arte troupe; how he and I am grateful to John Dickie, Andreas Giger, Beth Levy, Nelson Moe, Roger Moseley, Roger Parker, Mary Ann Smart and Holly Watkins for their comments and support during the writing of this article. Thanks also to Tommaso Esposito at the Museo di Pulcinella, del Folklore e della CIviltà Contadina, Acerra; and to Jack Smith and all at the Interlibrary Loan Office of the California State University, Sacramento, Translations are my own unless otherwise stated. €> The Auihor looS. Published by Oxford Universiiy Press on behalf of ihc 9jsfú Musical Association. All rí^ts reserved, doi : I o. logj/j MASKS, MINUETS AND MURDER 33 his cotnpaniotis Nedda and Canio are caught in a love triangle that mirrors the traditional affair between Columbine and Harlequin; how one night, when they are acting on stage the scene where Columbine betrays her husband, Canio can contain his rage no longer and murders Nedda and her lover with his knife. The prologue goes on to highlight the main themes of the opera: love, hate, the agony of loneliness and isolation - and the relationship between art and life that will be exposed in the final scene. Unlike in other prologues, the audience here are urged not to remain comforted that the drama is merely art, but to allow themselves to be alarmed and moved as if it were real. This emphasis on realism has defmed the critical reception and interpretation oiPagliacci; if we know one thing about the work, it is its reputation as an epitome oí verismo. This term, originally used to describe the literature of Giovanni Verga and Luigi Capuana, had been transposed into the world of opera in 1890 with Mascagni's setting of Verga's Cavalleria rusticana. Cavalleria and Pagliacci have come to emblematize operatic verismo, and while definitions have been hotly debated, some general features are clear. Both works translate the main elements of Verga s brief snapshots of'realistically' rough, lower-class subject matter, set in the present day, in Italy's rural South — in Pagliacci, Canio, Nedda and Silvio are peasants from Calabria who commit violent acts of passion. The supposedly 'realistic' depiction of setting and emotion defmes some of the opera's main musical modes. The rural atmosphere of the so-called Bell Scene, for example, where the chorus processes into church on the Feast of the Assumption, presents the conventional pastoral tropes of prominent woodwinds, open-fifth drones, and church bells (see Examples ia and ib). Most famously, the intense emotional turmoil of the characters' inner lives is voiced in chromatic harmonies, freedom from formal convention, and an often melodramatic performing style - Canio's famous 'Vesti la giubba' is the example par excellence (see Example 2). The per- ception of 'realism' in the opera was undoubtedly bolstered by Leoncavallo's first-hand accounts of the work's genesis: Pagliacci's plot, he said in 1893, was a reminiscence of a real-life murder remembered from his childhood in Montalto, when the young man employed to care for him was knifed as he came out of the theatre. Pagliacci, the story goes, resulted from the happy convergence of Verga's new aesthetic and the author's own experience. ' See Tilomas Grey, 'Opera and Music Drama', The Cambridge History of Nineteenth-Century Music, ed. Jim Samson (Cambridge, 2002), 571-423 (pp. 4i3fF.); also Donald Grout and Hermine Weigel Williams, A Short History of Opera (New York, 2003), 489. Italian opera scholar Matteo Sansonc describes Pagliacci as 'the second most famous veristic opera'. See his article 'Verismo', Grove Music Online, ed. Laura Macy {<http://www.grovemusic.com>, accessed 14 August 2006). ' 'I thought back 10 the tragedy that had streaked with blood the memories of my far-off youth/ Leoncavallo wrote, "and to the poor servant murdered before my very eyes, and in fewer than twenty days of feverish work I dashed off the libretto oî Pagliacci.' Ruggero Leoncavallo, 'Come nacquero ¡ Pagliacci', L'opera, 2 (1966). 40-2 (p. 41). In 1894 the composer reiterated the tale (with substantial modifications): 'In my childhood, when my father was JLidge at Montalto [.. .] a jealous player killed his wife after the performance. This event made a deep and lasting impression on my childish mind, the more since my father was the judge at the criminal's trial.' Quoted in LAURA BASINI Examples la and ib. Conventional pastoral tropes in the Bell Scene. Scena e coro delle campane Ragazzi Sop. Ten. Contadlni w (Corrono verso la sinistra; pane dci contadini guardano anch'essi.) J'J'J'lJ I zam po - gna - ri! Sop. r soli I zam-po - gna - ri! Bassi I'soU Vcr-so la Bassi r If r r ir ^ chie - sa van-no i com - pa m MASKS, MINUETS AND MURDER 3S Example ia continued Cantabile legato con dolcezza e scnza rail, Ten. che a cop - pic al vc - spe - ro sen va giu Le cam - pa *r p *- r IP * m Iff! f LAURA BASINl Example ib Andantino grazioso (J - 116) Sop, f (imitando il suono délie campane) Ten. Don Din Don Din Don Din Bassi Don Din Don Din Don Din (camp.) Don Don Din Don Din Don Din Don Don Din Don Din f n ==w= MASKS, MINUETS AND MURDER Example ib continued Din, Don, suo-na ves-pcr-o ra - gaz - «j gar - zon, Din Don Din Don Din Don Din Don Din Don 1 I t JZÍ W f- For contemporary critics, however, a different element in Pagliacci's Prologue was notable enough to gain repeated comment - and hints for us at the possibility of narrative complications. At least two critics pointed out that the Prologue makes repeated reference not to contemporary life or art, but to a historical Henry Edward Kiehhié, A Book of Operas: Their Histories, their Plots and their Music {New York, 1920), 110. On the opera's genesis, see also Teresa Lerario, 'Rutero Leoncavallo e il soggetto dei Pagliacct, Chigiana, 26-7 (1969-70), 115-22; Daniele Rubboli, Ridi Pagliacdo: Ruggero Leoncavallo, un musicista raccontato per la prima volta (Lucca, 1985), 7off.; and Luisa Longobucco, / 'Pagliacci'di Leoncavallo (Soveria Mannelli, Z003). Longobucco tries to reconstruct the real murder in Montalto from documents housed at the Archivio di Stato di Cosenza, Tribunale Civile e Pénale; she concludes (p. 32): 'Why did Leoncavallo choose a theatre as the scene for the deed itself? Because in reality it happened at the entrance to a theatre, at the end of a performance,' On the derivation of PagHacci's 'verismo, see also Michèle Girardi, 'II verismo musicale alla ricerca dei suoi tutori: Alcuni modelli di Pagliacci nel teatro musicale Fin df siècle', Letteratura, música e teatro al tempo di Rutero Leoncavallo: Atti del 2" convelo intemazionaU 'Ruggero Leoncavallo nel suo tempo', Locarno, Biblioteca Cantonale, 7-8-9 ottobre 199$, ed. Lorenza Guiot and Jürgen Maehder {Milan, 1995), 61-70. For alternative interpretations of operatic ver- ismo, see Adriana Guarnieri Corazzol {trans. Roger Parker). 'Opera and Verismo: Regressive Points of View and the Artifice of Alienation', Cambridge Optra Journal, 5 (1993), 39—53, and Andreas Giger, 'Verismo: Origin, Corruption, and Redemption of an Operatic Term', Journal of the American Musicological Society, 60 (2007}, 271-316. LAURA BASÍNI Example 2. Canio's 'Vesti ia giubba'. Arioso Adagio (J = 46) declamando con dolore CANIO Ve SD la giub - ba e la fee - cia in - & - ri I m portando La gen - te pa ga e ri - der vuo - le qua I f theatrical practice: 'Since the author is once more putting the old masks on stage', Tonio says, 'he would like to revive some of the old customs, and so sends me out again to you.' As one writer in the music journal II teatro illustrato pointed out, the opera's Prologue was a feature of the work that has no precedents [...] in opera before this.
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