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Pagliacci Tickets

Vienna State Opera, Vienna, Austria
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Available Dates: 12 - 22 Jan, 2025 (4 events)
Important Info
Type: Opera
City: Vienna, Austria
Acts: 2

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast
Performers
Choose the date to see the peformers
Creators
Composer: Pietro Mascagni
Composer: Ruggero Leoncavallo
Librettist: Giovanni Targioni-Tozzetti
Librettist: Guido Menasci
Director: Jean-Pierre Ponnelle
Librettist: Ruggero Leoncavallo
Overview

Pagliacci

Jean-Poierre Ponnelle always saw before his inner eye a concrete situation, an atmosphere, an image that he wanted to bring to life on stage. He rarely showed anything, preferring instead to explain his ideas. He explained them vividly - and at the same time invited the singers to participate in the creation of an idea. The production shifts the action to the 1930s and lives not least from numerous nuances, colors, small gestures: the tiny and ever-growing car of the approaching comedian troupe appearing on the horizon - such and similar only apparent trivialities prove the playful joy with which Jean-Pierre Ponnelle enriched these productions, which therefore appear just as fresh and valid even after three and a half decades as they did on the day of the premiere.

Leoncavallo was a master of the art of instrumentation: he repeatedly divided the violins, for example, and demanded flageolet effects from the strings, i.e. unusual forms of playing and sound. And he pays attention to small nuances: Nedda's "Bird Song", for example, is introduced by two interwoven harps, to which Leoncavallo has the violins play complex figures in sections and then places four solo violins over the whole thing, intoning chords sustained an octave higher. The sound is clearly influenced by French music. At the same time, there is also an influence from the German school of composition: in the Pagliacci orchestral prelude, there is a characteristic motif that is played piano in the horn. In Canio's central aria, "Vesti la giubba", it returns - more tragically - and can be heard a third time at the end of the opera. Such a dramaturgically striking use of motifs was unknown to Verdi, for example.

Pagliacci belongs to the so-called musical verismo. This refers to a narrow genre that originated in literature and aimed to show unvarnished, unembellished life. This form was characterized by strong emotions, often violent finales, abrupt endings and themes from everyday life. In addition to Pagliacci , Mascagni's Cavalleria rusticana is one of the central works.

Short Summarie
Canio, the principal of a comedy troupe, keeps a close eye on his wife Nedda, who feels constrained by his jealousy. She has fallen in love with Silvio, a young farmer, and the two want to flee together. But Tonio, whose love she has previously rejected, seeks revenge and betrays her to her husband Canio, who threatens retribution. The situation escalates during the troupe's performance: Play and reality mix, Canio kills Nedda and Silvio.

History
Premiere of this production: 21 May 1892, Teatro Dal Verme, Milan

Pagliacci 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'.

Synopsis

Place: Calabria, near Montalto, on the Feast of the Assumption
Time: between 1865 and 1870

Prologue

During the overture, the curtain rises. From behind a second curtain, Tonio, dressed as his commedia character Taddeo, addresses the audience (Si può?... Si può?... Signore! Signori! ... Un nido di memorie). He reminds the audience that actors have feelings too, and that the show is about real people.

Act 1

At three o'clock in the afternoon, the commedia troupe enters the village to the cheering of the villagers. Canio describes the night's performance: the troubles of Pagliaccio. He says the play will begin at "ventitré ore", an agricultural method of time-keeping that means the play will begin an hour before sunset. As Nedda steps down from the cart, Tonio offers his hand, but Canio pushes him aside and helps her down himself.

The villagers suggest drinking at the tavern. Canio and Beppe accept, but Tonio stays behind. The villagers tease Canio that Tonio is planning an affair with Nedda. Canio warns everyone that while he may act the foolish husband in the play, in real life he will not tolerate other men making advances to Nedda. Shocked, a villager asks if Canio really suspects her. He says no, and sweetly kisses her on the forehead. As the church bells ring vespers, he and Beppe leave for the tavern, leaving Nedda alone.

Nedda is frightened by Canio's vehemence (Qual fiamma avea nel guardo), but the birdsong comforts her (Stridono lassù). Tonio returns and confesses his love for her, but she laughs. Enraged, Tonio grabs Nedda, but she takes a whip, strikes him and drives him off. Silvio, who is Nedda's lover, comes from the tavern, where he has left Canio and Beppe drinking. He asks Nedda to elope with him after the performance and, though she is afraid, she agrees. Tonio, who has been eavesdropping, leaves to inform Canio so that he might catch Silvio and Nedda together. Canio and Tonio return and, as Silvio escapes, Nedda calls after him, "I will always be yours!"

Canio chases Silvio, but does not catch him and does not see his face. He demands that Nedda tell him the name of her lover, but she refuses. He threatens her with a knife, but Beppe disarms him. Beppe insists that they prepare for the performance. Tonio tells Canio that her lover will give himself away at the play. Canio is left alone to put on his costume and prepares to laugh (Vesti la giubba – "Put on the costume").

Act 2

As the crowd arrives, Nedda, costumed as Colombina, collects their money. She whispers a warning to Silvio, and the crowd cheers as the play begins.

Colombina's husband Pagliaccio has gone away until morning, and Taddeo is at the market. She anxiously awaits her lover Arlecchino, who comes to serenade her (O Colombina) from beneath her window. Taddeo returns and confesses his love, but she mocks him. She lets Arlecchino in through the window. He boxes Taddeo's ears and kicks him out of the room, and the audience laughs.

Arlecchino and Colombina dine, and he gives her a sleeping potion to use later. When Pagliaccio returns, Colombina will drug him and elope with Arlecchino. Taddeo bursts in, warning that Pagliaccio is suspicious of his wife and is about to return. As Arlecchino escapes through the window, Colombina tells him, "I will always be yours!"

As Canio (as Pagliaccio) enters, he hears Nedda (as Colombina) and exclaims "Name of God! Those same words!" He tries to continue the play, but loses control and demands to know her lover's name. Nedda, hoping to keep to the performance, calls Canio by his stage name "Pagliaccio," to remind him of the audience's presence. He answers with his arietta: No! Pagliaccio non son! He sings that if his face is pale, it is not from the stage makeup but from the shame she has brought him. The crowd, impressed by his emotional performance, which they do not realize is real, cheers him.

Nedda, trying to continue the play, admits that she has been visited by the innocent Arlecchino. Canio, furious and forgetting the play, demands the name of her lover. Nedda swears she will never tell him, and it becomes apparent that they are not acting. Beppe asks Tonio to intervene, but Tonio refrains and prevents Beppe from halting the action. Silvio begins to fight his way toward the stage. Canio, grabbing a knife from the table, stabs Nedda. As she dies, she calls: "Help! Silvio!" Silvio attacks Canio, but Canio kills Silvio also. The horrified audience then hears the celebrated final line:

La commedia è finita! – "The comedy is finished!"

Venue Info

Vienna State Opera - Vienna
Location   Opernring 2

The Vienna State Opera is one of the leading opera houses in the world. Its past is steeped in tradition. Its present is alive with richly varied performances and events. Each season, the schedule features 350 performances of more than 60 different operas and ballets. The members of the Vienna Philharmonic are recruited from the Vienna State Opera's orchestra. The building is also the home of the Vienna State Ballet, and it hosts the annual Vienna Opera Ball during the carnival season.

The 1,709-seat Renaissance Revival venue was the first major building on the Vienna Ring Road. It was built from 1861 to 1869 following plans by August Sicard von Sicardsburg and Eduard van der Nüll, and designs by Josef Hlávka. The opera house was inaugurated as the "Vienna Court Opera" (Wiener Hofoper) in the presence of Emperor Franz Joseph I and Empress Elisabeth of Austria. It became known by its current name after the establishment of the First Austrian Republic in 1921. The Vienna State Opera is the successor of the Vienna Court Opera, the original construction site chosen and paid for by Emperor Franz Joseph in 1861.

The opera house was the first major building on the Vienna Ringstrasse commissioned by the Viennese "city expansion fund". Work commenced on the house in 1861 and was completed in 1869, following plans drawn up by architects August Sicard von Sicardsburg and Eduard van der Nüll. It was built in the Neo-Renaissance style by the renowned Czech architect and contractor Josef Hlávka.

Gustav Mahler was one of the many conductors who have worked in Vienna. During his tenure (1897–1907), Mahler cultivated a new generation of singers, such as Anna Bahr-Mildenburg and Selma Kurz, and recruited a stage designer who replaced the lavish historical stage decors with sparse stage scenery corresponding to modernistic, Jugendstil tastes. Mahler also introduced the practice of dimming the lighting in the theatre during performances, which was initially not appreciated by the audience. However, Mahler's reforms were maintained by his successors.

Herbert von Karajan introduced the practice of performing operas exclusively in their original language instead of being translated into German. He also strengthened the ensemble and regular principal singers and introduced the policy of predominantly engaging guest singers. He began a collaboration with La Scala in Milan, in which both productions and orchestrations were shared. This created an opening for the prominent members of the Viennese ensemble to appear in Milan, especially to perform works by Wolfgang Amadeus Mozart and Richard Strauss.

Ballet companies merge

At the beginning of the 2005–2006 season, the ballet companies of the Staatsoper and the Vienna Volksoper were merged under the direction of Gyula Harangozó.

From the 2010–2011 season a new company was formed called Wiener Staatsballet, Vienna State Ballet, under the direction of former Paris Opera Ballet principal dancer Manuel Legris. Legris eliminated Harangozós's policy of presenting nothing but traditional narrative ballets with guest artists in the leading roles, concentrated on establishing a strong in-house ensemble and restored evenings of mixed bill programs, featuring works of George Balanchine, Jerome Robbins, Jiří Kylián, William Forsythe, and many contemporary choreographers, as well as a reduced schedule of the classic ballets.

Opera ball

For many decades, the opera house has been the venue of the Vienna Opera Ball. It is an internationally renowned event, which takes place annually on the last Thursday in Fasching. Those in attendance often include visitors from around the world, especially prominent names in business and politics. The opera ball receives media coverage from a range of outlets.

Important Info
Type: Opera
City: Vienna, Austria
Acts: 2

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

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