R. Leoncavallo_ Pagliacci / G. Puccini_ Il Tabarro
April 6(Thu)~9(Sun), 2017 Opera Theater, Seoul Arts Center
Two master pieces of verismo opera
Dramatic view to wretched life towards death
Two master pieces of verismo opera are performed on one stage. Leoncavallo’s Pagliacci and Puccini’s Il Tabarro are the two supreme verismo operas with realistic analysis, sharp psychological description, and dramatic but moderate music. Both productions present special experiences of alternations between fantasy and reality on stage. Pagliacci, renowned for its “play within a play”, is about a clown Canio who confuses the reality to a play and commits murder. In Il Tabarro, the music balances in harmony as the story deals with the death of a child, wife’s affair, and husband’s murder. The highly condensed music truly connects the direct delineation of the story that is almost too tragic.
Production & Cast
Korea National Opera | Hak Min Kim
Composer | R. Leoncavallo
Libretto | Ruggero eoncavallo
Premiere | Teatro Dal Verme in Milano on May 21, 1892
Composer | G. Puccini
Libretto | Giuseppe Adami
Premiere | The Metropolitan Opera in New York on Dec 14, 1918
Conductor | Giuseppe Finzi
Director | Federico Grazzini
Sets | Andrea Belli
Costumes | Valeria Donata Bettella
Lighting | John Bishop
Choreographer / Assistant director | Angelo Smimmo
Nedda | Sop. Sae Kyung Rim, Saioa Hernandez
Canio | Ten. Carl Tanner, Rubens Pelizzari
Tonio | Bar. Joung Min Park
Peppe | Ten. Hyun Ki Min
Silvio | Bar. Dong Hee Seo
Michele | B.Bar. Woong Jo Choi
Giorgetta | Sop. Sae Kyung Rim, Saioa Hernandez
Luigi | Ten. Carl Tanner, Rubens Pelizzari
Tinc | Ten. Hyun Ki Min
Talpa | Bass Kong Seok Choi
Frugola | M.Sop. Jae Eun Paik
The clown Tonio delivers a prologue promising the audience that what they will see is no mere play-acting, but real life.
A village in Calabria
A crowd gathers to await the arrival of the strolling players and Canio invites them to a performance at 11 o'clock that night. As he and Beppe prepare to join the villagers at the inn, one of them warns him jokingly against leaving his wife Nedda behind with Tonio. Canio's angry reply that such goings-on are only for the play and it would be best not to play such a trick on him in real life chills Nedda. She wishes to be free of him, free like the birds flying overhead.
Tonio, a hunchback, draws near, attracted by her song, but when he declares his love, she repulses him, at first mockingly and then angrily, finally striking him with a whip when he tries to embrace her. He slinks off, vowing vengeance. But he watches as she greets her lover, Silvio, one of the villagers. She agrees to leave Canio and stay with him, and they agree to meet later that night.
Tonio has brought Canio, who overhears the assignation. Nedda delays him while Silvio escapes without being recognised. Tonio suggests that Canio bide his time, as the lover is sure to come to the performance and betray himself. Broken-hearted, Canio dresses and makes up for the performance, reminding himself bitterly that he is not a man, only a clown.
Later that night
The villagers gather and the play begins. Columbina's jealous husband Pagliaccio is away, and after rejecting the advances of Taddeo (Tonio), she entertains her lover Harlequin (Beppe).
Pagliaccio returns and begins to question Columbina. Columbina's parting words to Harlequin as he runs off are the same as Nedda used to Silvio, and Canio slips from the pretended jealousy of Pagliaccio to his own real situation. As he demands the name of her lover with increasing fury, Nedda tries to keep within the frame of the play.
Forced to confront the reality of the situation, she refuses to name her lover and is stabbed by Canio. Silvio rushes from the audience, too late to save her, and is also killed by Canio, who announces to the stunned audience: "The play is over."
* Source : http://www.opera-guide.ch/opera.php?id=194&uilang=en
The stevedores relax with a drink and dance after the day's work. Michele is moody, aware that Giorgetta no longer returns his love. Frugola comes to collect her husband Talpa. Luigi's reflections on the futility of existence cause the others to relate their dreams of happiness: Frugola's in a cottage with her cat, Giorgetta's in Paris instead of on the dreary barge. She and Luigi realise that they came from the same village near Paris and recall its pleasures.
Luigi and Giorgetta arrange an assignation for later that night, but then he surprises her by asking Michele to leave him in Rouen on the next trip. He explains to Giorgetta that he cannot bear to share her with her husband, but agrees to come on board when she lights a match as a signal. Michele asks Giorgetta why she no longer loves him and both reflect sadly on how their lives have changed since the death of their child. She evades his question and goes inside, while he broods over the likelihood that she has a lover, dismissing Luigi as a possibility because of his request to go to Rouen.
He lights his pipe and Luigi, believing this to be the signal, comes on board. Michele forces him to admit his love for Giorgetta, then strangles him and hides the body under his cloak. He invites Giorgetta to protect herself from the night air under his cloak as she used to, flinging it open to reveal Luigi's body.
* Source : http://www.opera-opera.com.au/plotp.htm#pucctaba