I Pagliacci Act II:
A bell rings loudly. The curtain of the tent theatre on the stage rises. The mimic scene represents a small room with two side doors and a practicable windows at the back. Nedda, as Columbine, is walking about expectantly and anxiously. Her husband, Pagliaccio, has gone away till morning. Taddeo is at the market. She awaits her lover, Arlecchino (Harlequin). A dainty minuet forms the musical background.
A guitar is heard outside. Columbine runs to the window with signs of love and impatience. Harlequin, outside, sings his pretty serenade to his Columbine,
"O Colombina, il tenero" (O Columbine, unbar to me thy lattice high).
The ditty over, she returns to the front of the mimic stage, seats herself, back the door, through which Tonio, as Taddeo, a basket on his arm, now enters. He makes exaggerated love to Columbine, who disgusted with his advances, goes to the window, opens it, and signals. Beppe as Harlequin, enters by the window. He makes light of Taddeo, whom he takes by the ear and turns out of the room, to the accompaniment of a few kicks. All the while the minuet has tripped its pretty measure and the mimic audience has found plenty to amuse it.
Harlequin has brought a bottle of wine, also a phial with a sleeping potion, which she is to give her husband, when opportunity offers, so that, while he sleeps, she and Harlequin may fly together. Love appears to prosper, till, suddenly, Taddeo bursts in. Columbine's husband, Pagliaccio, is approaching. He suspects her, and is stamping with anger. "Pour the philtre in his wine, love!" admonishes Harlequin, and hurriedly gets out through the window.
Columbine calls after him, just as Canio, in the character of Pagliaccio, appears in the door, "Tonight, love, and forever, I am thine!" -- the same words Canio heard his wife call after her lover a few hours before.
Columbine parries Pagliaccio's questions. He has returned too early. He has been drinking. No one was with her, save harmless Taddeo, who has become alarmed and has sought safety in the closet. From within, Taddeo expostulates with Pagliaccio. His wife is true, her pious lips would ne'er deceive her husband. The audience laughs.
But now it no longer is Pagliaccio, it is Canio, who calls out threateningly, not to Columbine, but to Nedda, "His name!"
"Pagliaccio! Pagliaccio!" protests Nedda, still trying to keep in the play. "No!" cries out her husband-in a passage dramatically almost as effective as "Ridi Pagliaccio!" -- "I am Pagliaccio no more! I am a man again, with anguish deep and human!" The audience thinks his intensity is wonderful acting -- all save Silvio, who shows signs of anxiety.
"Thou had'st my love," concludes Canio, "but now thou hast my hate and scorn."
"If you doubt me," argues Nedda, "why not let me leave you?"
"And go to your lover! -- His name! Declare it!"
Still desperately striving to keep in the play, and avert the inevitable, Nedda, as if she were Columbine, sings a chic gavotte, "Survvia, cosi terrible" (I never knew, my dear, that you were such a tragic fellow).
[Music excerpt]
She ends with a laugh, but stops short, at the fury in Canio's look, as he takes a knife from the table.
"His name!"
"No!" -- Save her lover she will, at whatever cost to herself.
The audience is beginning to suspect that this is no longer acting. The women draw back frightened, overturning the benches. Silvio is trying to push his way through to the stage.
Nedda makes a dash to escape into the audience. Canio pursues and catches up with her.
"Take that-and-that!" (He stabs her in the back). "Di morte negli spasimi lo dirai" (In the last death agony, thou'lt call his name).
"Soccorso... Silvio!" (Help! Help! -- Silvio!)
A voice from the audience cries, "Nedda!" A man has nearly reached the spot where she lies dead. Canio turns savagely, leaps at him. A steel blade flashes. Silvio falls dead beside Nedda.
'Gesumaria!" shriek the women; "Ridi Pagliaccio!" sob the instruments of the orchestra. Canio stands stupefied. The knife falls from his hand:
"La commedia e finita" (The comedy is ended).
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Art of appoggio step by step by Franco Tenelli step 1 :Natural placement discovery Appoggio Zoneby TenelliVoiceGuru2,094 views
EASILY,THIS MAN IS ONE OF THE BEST TENORS IN THE WORLD
cccorsetti 5 months ago 2
Amazingly done. I see a future where bands of Opera singers play their own instruments and talk down upon their predecessors saying "*scoff* ... THEY don't even play their own music" Haha.
mst0068 6 months ago
OH MY GOD! So beautiful!
maxympol 6 months ago
MAGNIFICENT,WELL U KNOW I AM YOUR FAN!!! ...YOUR TALENT SPEAKS FOR IT SELF!!!
reynaldomonterrey 9 months ago