I Pagliacci

Pagliacci
Opera by Ruggero Leoncavallo
Cover of the first piano reduction of the score published in 1892
Librettist	Ruggero Leoncavallo
Premiere	21 May 1892 (1892-05-21) Teatro Dal Verme, Milan

Pagliacci (Italian pronunciation: [paʎˈʎattʃi], meaning "Clowns") is an Italian opera in a prologue and two acts, with music and libretto by Ruggero Leoncavallo. It is the only Leoncavallo opera that is still widely performed. Opera companies have frequently staged Pagliacci with Cavalleria rusticana by Mascagni, a double bill known colloquially as 'Cav and Pag'.

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. Nellie Melba played Nedda in London in 1893, soon after the Italian premiere, and it was given in New York on 15 June 1893, with Agostino Montegriffo as Canio.

Around 1890, when Pietro Mascagni's Cavalleria rusticana premiered, Leoncavallo was a little-known composer. After seeing Mascagni's success, he 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: a murder in 1865, the victim of which was a Leoncavallo family servant, Gaetano Scavello. The murderer was Gaetano D'Alessandro, with his brother Luigi an accomplice to the crime. The incident resulted 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, was the presiding magistrate over the criminal investigation.

Upon learning of the plot of Leoncavallo's libretto in an 1894 French translation, the French author Catulle Mendès thought it resembled his 1887 play La Femme de Tabarin, such as the play-within-the-play and the clown murdering his wife. Mendès sued Leoncavallo for plagiarism. The composer pleaded ignorance of Mendès' play. Later there were counter-accusations that Mendès' play resembled that of Don Manuel Tamayo y Baus' Un Drama Nuevo (1867). Mendès dropped his lawsuit. However, the scholar Matteo Sansone has suggested that, as Leoncavallo was a notable student of French culture, and lived in Paris from 1882 to 1888, he had ample opportunity to be exposed to new French art and musical works. These would potentially have included Mendès' play, another version of La femme de Tabarin by Paul Ferrier, and Tabarin, an opera composed by Émile Pessard that was based on Ferrier's play. Sansone has elaborated on the many parallels among the Mendès, Ferrier, and Pessard versions of the Tabarin story and Pagliacci, noting that Leoncavallo deliberately minimised any sort of connection between his opera and those earlier French works.