A Second Book of Operas

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cent years at the Metropolitan Opera House in New York efforts have been made to divorce them and to find associates for one or the other, since neither is sufficient in time for an evening's entertainment; but they refuse to be put asunder as steadfastly as did the twin brothers of Helen and Clytemnestra. There has been no operat

but twins they are not in respect of parentage or age. "Cavalleria Rusticana" is two years older than "Pagliacci" and as truly its proge

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ductions of mature masters, from whom things monumental and lasting were expected as a matter of course; men like Wagner and Verdi. The generations had also seen the coming of "Carmen" and gradually opened their minds to an appreciation of its meaning and beauty, while the youthful genius who had created it sank almost unnoticed into his grave; but they had not seen the advent of a work which almost in a day set the world on fire and raised an unknown musician

atic poem "I Medici" to the publisher Ricordi and been commissioned to set it to music. For this work he was to receive 2400 francs. He completed the composition within a year, but there was no contract that the opera should be performed, and this hoped-for consummation did not follow. Then came Mascagni's triumph, and Leoncavallo, who had been obliged meanwhile to return to the routine work of an operatic repetiteur, lost patience. Satisfied that Ricordi would never do anything more for him, and become desperate, he shut himself in his room to attempt "one mo

le stupidity with maliciousness, delights in the domestic discord which he helps to foment. The first act of the opera may be looked upon as an induction to the conventional comedy which comes to an unconventional and tragic end through the fact that the Clown (Canio) is in real life the husband of Columbine (Nedda) and is murderously jealous of her; wherefore, forgetting himself in a mad rage, he kills her and her lover in the midst of the mimic scene. The lover, however, is not the Harlequin of the come

ht out another play called "La Femme de Tabarin," for which Chabrier wrote the incidental music. The critics were prompt in charging Mendes with having plagiarized Ferrier, and the former defended himself on the ground that the incident which he had employed, of actual murder in a dramatic performance, was historical and had often been used. This, however, did not prevent him from bringing an accusation of theft against Leoncavallo when "Pagliacci" was announced for production in French at Brussels and of beginning legal proceedings against the composer and his publishe

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member that at the time of the first performance of "Pagliacci" at Milan in 1892 several critics accused me of having taken the subject of my opera from the "Drama Nuevo" of the well known Spanish writer, Estebanez. What would M. Mendes say if he were accus

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; and later, when I took up dramatic work, I used this episode for a drama. I left the frame of the piece as I saw it, and it can be seen now at the Festival

a well known writer who has a subject that I wish to use for a future work. "Pagliacci" is my own, entirely my own. If in this opera, a scene reminds one of M. Mendes's book, it only proves that we both had the same idea which Estebanez had before us. On my honor and conscience I assure you that I have read but two of M. Mendes's books in my life-"Zo Hur" and "La Premiere Maitresse." When I read at Marienbad a li

viction he was asked if he felt penitent. The rough voice which rang through the room years before still echoed in Leoncavallo's ears: "I repent me of nothing! On the contrary, if I had it to do over again I'd do it again!" (Non mi pento del delitto! Tutt altro. Se dovessi ricominciare,

ment with the man. Tabarin is drunk-drunker than usual. He adores his wife; he falls at her feet; he entreats her; he threatens her. Meanwhile the crowd gathers to see the "parade." Tabarin mounts the platform and tells openly of his jealousy. He calls his wife; she does not answer. He opens the curtain behind him; then he sees her in the arms of the musketeer. Tabarin snatches up a sword, stabs

e name of the hero in common. Their stories bear no likeness to those of "La Femme de Tabarin" or "Pagliacci." The Spanish play, "Drama Nuevo," by Estebanez, was adapted for performance in English by Mr. W. D. Howells under the title "Yorick's Love." The translation was made for Mr. Lawrence Barrett and was never published in book form

ord that meant straw was afterward used for mattress which was stuffed with straw and then for the buffoon, who wore the mattress cloth suit. In France the Paillasse, as I have said, was the same as Pagliaccio. Sometimes he wore a red checked suit, but the genuine one was known by the colors, white and blue. He wore blue stockings, short breeches puffing out a la blouse, a belted blouse and a black, close-fitting cap. This buffoon was seen at shows of strolling mountebanks. He stood outside the booth and by his jests and antics and grimaces strove to attract the attention of the people, and he told them of the wonders performed by acrobats within, of the freaks exhibited. Many of his jests are preserved. They are often in dialogue with the proprietor and

tehle. The first performance in America was by the Hinrichs Grand Opera Company, at the Grand Opera House, New York, on June 15, 1893; Selma Kronol

sentiments of the one and wears the motley of the other. Text and music, however, are ingeniously contrived to serve as an index to the purposes of the poet and the method and material of the composer. In his speech the prologue tells us that the author of the play is fond of the ancient custom of such an introduction, but not of the old purpose. He do

ologue which Bully Bottom wanted for the play of "Pyramus" in Shakespeare's comedy. We are asked to see a play. In this play there is another play. In this other play one of the actors plays at cross-purposes with the author-forgets his lines and himself altogether

than a loose-jointed pot-pourri; but it serves the purpose of a thematic catalogue to the chief melodic incidents of the play which is to f

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scale-passage with a saucy flourish at th

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labelled in the Wolzogen-Wagner manner with reference to the play's peoples and their passions if it were worth while to do so, or if their beauty and eloquence we

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m the love music of

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ermission of the audience, steps forward and delivers his homily, which is alternately declamatory and broadly melodious. One of his melodies later becomes th

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the show at 7 o'clock (ventitre ore). There they shall be regaled with a sight of the domestic troubles of Pagliaccio and see the fat mischief-maker tremble. Tonio wants to help Nedda out of the cart, but Canio interferes and lifts her down himself; whereupon the women and boys twit Tonio. Canio and Beppe wet their whistles at the tavern, but Tonio remains behind on the plea that he must curry the donkey. The hospitable villager playfully suggests that it is Tonio's purpose to make love to

mpognari! Drone pipes droning and chaunters s

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that concerns the story in any way. "Din, don!" That would suffice, but if you must have more: "Let's to church. Din, don. All's right with love and

h twitter of birds and rustle of leaves for accompaniment. Pretty birds, where are you going? What is it you say? Mother knew your song and used once to tell it to her babe. How your wings flash through the ether! Heedless of cloud and tempest, on, on, past the stars, and still on! Her wishes take flight with the feathered songsters,

in and plays eavesdropper. He hears the mutual protestations of the lovers, hears Nedda yield to Silvio's wild pleadings, sees them locked in each other's arms, and hurries off to fetch Canio. Canio comes, but not in time to see the man who had climbed over the wall, yet in time to hear Nedda's word of parting: A stanotte-e per sempre tua saro-"To-night, and forever, I am yours!" He throws Nedda aside and gives chase after the fugitive, but is baffled. He demands to be told the name of her lover. Nedda refuses to answer. He rushes

ealistic and bloody ending. The villagers gather and struggle for places in front of the booth. Among them is Silvio, to whom Nedda speaks a word of warning as

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re in the hands of Columbine to be poured into her husband's wine. At the window Columbine calls after him: A stanotte-e per sempre io saro tua! At this moment Canio enters in the character of Pagliaccio. He hears again the words which Nedda had called after the fleeing Silvio, and for a moment is startled out of his character. But he collects himself and begins to play his part. "A man has been here!" "You've been drinking!" The dialogue of the comedy continues, but ever and anon with difficulty on the part of Pagliaccio, who begins to put a sinister inflection into his words. Taddeo is dragged from the cupboard in which he had taken hiding. He, too, puts color of verity into his lines, especially when he p

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mpts to escape from the mimic stage. Silvio starts up with dagger drawn. The spectators rise in confusion and cry "Stop him!" Canio seizes Nedda and plunges his knife into her: "Take that! And that! With thy dying gasps thou'lt tell me!" Woful intuition! Dying, Nedda calls: "Help, Silvio

the sentence in a mocking way. And there is a report that such was Leoncavallo's original intention. As the Tonio began the piece in explanation so he should end it. But the tenor (de Lucia) insisted that he should speak the line. I do not believe the story. (1) As Maurel was the original Tonio and the tenor