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Pagliacci

by

Ruggero Leoncavallo

 
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Pagliacci

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A role which has always held a magnetic allure for the greatest tenors.

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    After the death of Enrico Caruso in 1921, Gigli assumed the mantle of Italy’s top tenor, though he never appreciated being nicknamed “Caruso Secondo.” Pavarotti sometimes tells the story of how he came to blows with his father, himself a notable amateur tenor, over whether Gigli was a better singer than Caruso. Though hailed for the beauty of his lyric tenor voice, Gigli also possessed the technical skill to handle heavier roles such as the notoriously demanding Des Grieux in Puccini’s Manon Lescaut. His performance here of Canio’s famous aria from Pagliacci (“Vesti la giubba”) drips with anguish and the pain of sexual betrayal (the womanising Gigli perhaps understood whereof he sang) as he puts on his clown’s costume in preparation for the play-within-a-play which brings the real-life drama to a violent climax in Leoncavallo’s opera. The role has always held a magnetic allure for the greatest tenors.

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