I Pagliacci - Opera Journeys Libretto Series

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O PERA J OURNEYS
I PAGLIACCI Page 1
LIBRETTO SERIES
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RUGGIERO LEONCAVALLO
I PAGLIACCI
COMPLETE LIBRETTO
with Music Highlight examples
OPERA JOURNEYS LIBRETTO SERIES Page 2
Burton D. Fisher, editor,

Opera Journeys Libretto Series
Burton D. Fisher is a former opera conductor, author-editor-publisher
of the Opera Classics Library Series, the Opera Journeys Mini
Guide Series, and the Opera Journeys Libretto Series, principal
lecturer for the Opera Journeys Lecture Series at Florida International
University, a commissioned author for Season Opera guides and
Program Notes for regional opera companies, and a frequent opera
commentator on National Public Radio.
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I PAGLIACCI Page 3
OPERA JOURNEYS LIBRETTO SERIES
RUGGIERO LEONCAVALLO’s
I PAGLIACCI
TRANSLATED FROM ITALIAN
and including music highlight transcriptions
Edited by Burton D. Fisher

Principal lecturer, Opera Journeys Lecture Series
___________________________________________
Opera Journeys Publishing™ / Coral Gables, Florida
I PAGLIACCI Page 5
Calabria, Italy, near the town of Montalto. The Feast of the Assumption is being celebrated.
Prologue
Tonio puts his head through the curtain, looks at the audience,
advances before the footlights, and bows to the audience.
Tonio: Tonio:
Si può? Si può? Signore! Signori! May I? May I? Ladies! Gentlemen!
Scusatemi se da sol me presento. Forgive me for presenting myself alone.
Io sono il Prologo. I am the Prologue.
Poiché in iscena ancor le antiche maschere Once again, the author wants to revive the
mette l’autore, in parte ei vuol riprendere le ancient plays, partly to revive the ancient
vecchie usanze, e a voi di nuovo inviami! tradition, and we invite you!
Ma non per dirvi come pria: “Le lacrime che But I’m not here to tell you as before: “That
noi versiam son false! Degli spasimi e de’ our tears are false! And don’t take our sighs
nostri martir non allarmatevi!” and anguish seriously!”
No! No. L’autore ha cercato invece pingervi No ! No. The author has tried to paint a
uno squarcio di vita. Egli ha per massima sol picture of real life. He believes first that the
che l’artista è un uom e che per gli uomini artist is a man, and that he must write for
scrivere ei deve. Ed al vero ispiravasi! men. And that truth has inspired him!
Un nido di memorie in fondo a l’anima A host of memories filled his innermost soul,
cantava un giorno, ed ei con vere lacrime and he has written them with real tears,
scrisse, e i singhiozzi il tempo gli battevano! and his sobs are marking the beat!
Dunque, vedrete amar sì come s’amano gli Therefore, you’ll see love as real people love,
esseri umani; vedrete de l’odio i tristi frutti. you’ll see hate and its anguished fruits.
Del dolor gli spasimi, urli di rabbia, udrete, e You’ll hear cries of rage, and its cynical
risa ciniche! laughter!
E voi, piuttosto che le nostre povere gabbane And above all, do not consider so much our
d’istrioni, le nostr’anime considerate, poiché siam poor flimsy costumes, but consider our hearts,
uomini di carne e d’ossa, e che di quest’orfano because we are men of flesh and bone. Like
mondo al pari di voi spiriamo l’aere! you, we breathe the air of this lonely world!
Il concetto vi dissi.Or ascoltate com’egli è I’ve explained the concept. Now hear how
svolto. the plot unfolds before you.
Andiam. Incominciate! Come! Let’s begin!
ACT I
It is 3:00 o’clock in the afternoon. The sun is bright.

On the outskirts of the village where two roads converge, there is a travelling theater.
The sound of an out-of-tune trumpet is heard, also a drum.
Villagers dressed in holiday attire approach, laughing, shouting and whistling.
Ragazzi: Boys:
Eh! Hey!
Coro di contadini e contadine: Chorus of Villagers: (arriving slowly)

Son qua! Ritornano! They’re here! They’ve returned.
Pagliaccio è là! Pagliaccio and the clowns are here!
Tutti lo seguono, grandi e ragazzi, ai motti, ai Let’s all follow their jokes and buffoonery,
lazzi applaude ognun. Ed egli serio saluta e and every one applaud. See how seriously he
passa e torna a battere sulla gran cassa. bows and turns to bang on his big drum.
Ragazzi: Boys:
Ehi, sferza l’asino, bravo Arlecchino! Hey, whip that donkey, terrific Harlequin!
Contadini e Contadine: Chorus of Villagers:

In aria gittano i cappelli! Like the air of a gypsy!
Canio: Canio: (from a distance)

Itene al diavolo! Go to the devil!
Beppe: Beppe:
To! To! Birichino! Take that you rascal!
Contadini, Contadine e Ragazzi: Villagers and boys:

I lor cappelli diggià. fra strida e sibili diggià. They fling their caps, hoot and whistle.
La Folla: The Crowd:

Ecco il carreto. Indietro. Arrivano. Here’s the wagon. Stand back. They’re arriving.
Che diavolerio! Dio benedetto! What fiendish noise! Lord have mercy!
A picturesque cart arrives, painted in various colors.

It is pulled by a donkey that is guided by Beppe, dressed in Harlequin’s costume.
Nedda lies on the cart. There is a gypsy and an acrobat performing.
Behind Nedda is the big drum. Canio walks behind the cart, in the costume of a clown, holding
a trumpet in one hand, and in the other the stick for the big drum.
The villagers surround the cart excitedly.
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Viva Pagliaccio, viva Pagliaccio. Evviva! Il Hurray for the prince of clowns! You drive
principe sei dei pagliacci! I guai discacci tu away our woes away with fun and laughter!
co’l lieto umore! Ognun applaude a’ motti, ai Everyone cheer for jest and laughter. And he,
lazzi. Ed ei, ei serio saluta e passa. he bows seriously as he passes.
Viva! Viva Pagliaccio! Evviva Pagliaccio, Hurray for Pagliaccio! Everyone cheer for
t’applaude ognun! Pagliaccio!
Canio: Canio:
Grazie! Thank you!

Evviva! Long life!
Canio: Canio:
Grazie! Thank you!

Bravo! Terrific!
Canio: Canio:
Vorrei... I’d like…

E lo spettacolo? E lo spettacolo? What about the play?
Canio: Canio: (beating the drum to quiet the crowd)

Signori miei! Gentlemen, please!
La Folla: The Crowd: (covering their ears)

Uh! ci assorda! Finiscila! Huh! Stop it! You’re deafening us!
Canio: Canio: (making a comic salute with his hat)

Mi accordan di parlar? May I speak now?
La Folla: The Crowd: (laughing)

Ah! Ah! Ah! Ah! Ah! Ah! Con lui si dee Ha! Ha! Ha! Ha! Ha! Ha! Let him have his
cedere, tacere ed ascoltar! way! Be still and listen!
Canio: Canio:
Un grande spettacolo a ventitré ore prepara il Your humble servant has prepared a
vostr’umile e buon servitore! wonderful show for you this evening!
Vedrete le smanie del bravo Pagliaccio; e You’ll see brave Pagliaccio suffer, and get his
com’ei si vendica e tende un bel laccio. revenge with a trap.
Vedrete di Tonio tremar la carcassa, e quale You’ll see Tonio shaking, and the intrigues he
matassa d’intrighi ordirà. weaves.
Venite, onorateci signori e signore. A ventitrè So come and honor us ladies and gentlemen.
ore! A ventitrè ore! At eleven o’ clock!

Verremo, e tu serbaci il tuo buon umore. A We’ll see you there, and we’re sure it’s’s your
ventitrè ore! best play: at eleven o’ clock!
Canio: Canio:
A ventitrè ore! At eleven o’ clock!

A ventitrè ore! Verremo! At eleven o’ clock! We’ll see you!
Tonio tries to help Nedda descend from the cart, but Canio,
who has already jumped down, boxes Tonio’s ear.
Canio: Canio:
Via di lì! Get away from here!
Canio takes Nedda into his arms and brings her to the ground.
La Folla: The Crowd: (laughing at Tonio)

Ah! Ah! Ah! Ha! Ha! Ha!
Contadine: Villagers: (ridiculing Tonio)

Prendi questo, bel galante! How does that suit you, Mister lover?
Ragazzi: Boys: (whistling at Tonio)

Con salute! Here’s to you!
Tonio shows his fist to threaten the boys. They grumble and quickly run away,
disappearing behind the travelling theater.
Tonio: Tonio: (aside)

La pagherai! Brigante! I’ll have my revenge! Bandits!
Beppe takes Tonio and the cart toward the theater. Some villagers approach Canio.
Un Contadino: A Villager: (to Canio)

Di’, con noi vuoi bevere un buon bicchiere Say, would you like to have a drink with us at
sulla crocevia? Di’, vuoi tu? the corner tavern? Say you will?
Canio: Canio:
Con piacere. With pleasure.
Beppe: Beppe:
Aspettatemi. Anch’io ci sto! Wait for me. I want a drink also!
Canio: Canio: (shouting toward Beppe)

Di’, Tonio, vieni via? Hey Tonio, are you coming?
I PAGLIACCI Page 9
Tonio: Tonio: (from inside)

Io netto il somarello. Precedetemi. I’m busy cleaning the donkey! You go on.
Un altro Contadino: Another Villager: (jestingly)

Bada, Pagliaccio, ci solo vuol restare per far la Careful Pagliaccio, he’s only staying behind
corte a Nedda! so he can court Nedda!
Canio: Canio: (smiling but annoyed)

Eh! Eh! Vi pare? Hey! Do you think so?
Un tal gioco, credetemi, è meglio non giocarlo Believe me, it’s better not to play such a game
con me, miei cari; e a Tonio, e un poco a tutti with me, my friends; and I say it to Tonio and
or parlo! to all of you!
Il teatro e la vita non son la stessa cosa; no, Life and the theater are not the same thing!
non son la stessa cosa! No, they’re not the same thing!
E se lassù Pagliaccio sorprende la sua sposa If on the stage Pagliaccio surprises his wife
col bel galante in camera, fa un comico in bed with a lover, he preaches a comic
sermone, poi si calma od arrendesi ai colpi di sermon, and then calms down, or allows
bastone! himself to be beaten!.
Ed il pubblico applaude, ridendo allegramente! And the crowd applauds, laughing heartily!
Ma se Nedda sul serio sorprendessi, But if I should surprise Nedda like that in real
altramente finirebbe la storia, com’è ver che life, the story would have a different ending!
vi parlo! Un tal gioco, credetemi, è meglio Believe me, it’s better not to play such a game
non giocarlo! with me!
Nedda: Nedda: (aside)

(Confusa io son!) (I’m confused!)
Contadini: Villagers:
Sul serio pigli dunque la cosa? Did you think we were serious?
Canio: Canio: (moved)

Io!? Vi pare! Scusatemi! I? Of course not! Forgive me!
Adoro la mia sposa! I adore my wife!
Canio approaches Nedda and kisses her on the forehead.

The sound of bagpipes is heard in the distance.
Monelli: Boys: (shouting)

I zampognari! Here come the bagpipes!
Contadini e Contadine: Villagers:

I zampognari! Verso la chiesa vanno i The bagpipers! The villagers are going toward
compari. to the church.
Essi accompagnano la comitiva che a coppie See how the couples go to the church all jolly
al vespero sen va giuliva. Le campane. Ah! and hearty. The churchbells! Let’s go! The
Andiam. La campana ci appella al Signore! bell calls us to worship!
Canio: Canio:
Ma poi, ricordatevi! A ventitrè ore! But don’t forget! At eleven o’ clock!
Canio disappears behind the theater. The bagpipers arrive in holiday attire with vivid colored
ribbons and flowers on their pointed hats. The villagers exchange greetings and smiles.

Andiam! Andiam! Let’s go! Let’s go!
Don, din don, din don, . din don, suona Dong, ding dong, ding dong, ding dong, the
vespero, ragazze e garzon, din don! A coppie vesper bell rings, and pipers accompany us to
al tempio ci affrettiam! church. Let’s hurry to church in pairs!
Din don, diggià i culmini il sol vuol baciar. Le Ding dong, see the setting sun on the
mamme ci adocchiano, attenti, compar! Din chimney tops. Be careful, our mothers are
don, tutto irradiasi di luce e d’amor! Ma i keeping a sharp look out! Ding, dong, now
vecchi sorvegliano gli arditi amador! Din don, the world is aglow with love! Ding dong, the
suona vespero, ragazze e garzon, din don. vesper bell sound. Come along boys and girls.
The couples disappear down the road. Canio, after changing from his clown costume, returns.
He smiles at Nedda and signals goodbye. Nedda.
He leaves with Beppe and several villagers. Nedda is left alone.
Nedda: Nedda: (profoundly)

Qual fiamma avea nel guardo! What fire there was in his eyes!
Gli occhi abbassai per tema ch’ei leggesse il I looked away in case he read my secret
mio pensier segreto! thoughts!
Oh! S’ei mi sorprendesse, bruttale come egli è! Oh! If that brutal should surprise me!
Ma basti, orvia. Son questi sogni paurosi e But enough! No more! These are foolish
fole! dreams!
O che bel sole di mezz’agosto! Such a bright sun in mid-August!
Io son piena di vita, e, tutta illanguidita per I’m so full of life, weakened by mysterious
arcano desìo, non so che bramo! desire! I don’t know what I yearn for!
I PAGLIACCI Page 11
Nedda looks toward the sky.

Oh! Che volo d’augelli, e quante strida! Oh, so many birds, so many voices!
Che chiedon? Why are they seeking?
Dove van? Where are they going?
Chissà! La mamma mia, che la buona ventura Who knows! My mother understood their
annunziava, comprendeva il lor canto e a me song and used to sing to me when I was a
bambina così cantava. child.
Hui! Hui! Ah, ah! Ah, ah!
Stridono lassù, liberamente lanciati a vol, a The birds soar in the sky, flying about freely
vol come frecce, gli augel. like arrows.
Disfidano le nubi e’l sol cocente, e vanno, e They defy clouds and the fierce burning sun,
vanno per le vie del ciel. as they travel across the sky.
Lasciateli vagar per l’atmosfera, questi They wander through the air, longing for blue
assetati d’azzurro e di splendor: seguono sky and light.
anch’essi un sogno, una chimera, e vanno, e And they pursue a dream as they fly through
vanno fra le nubi d’or! the golden clouds!
Che incalzi il vento e latri la tempesta, con The wind may blow, and the storm may howl,
l’ali aperte san tutto sfidar; la pioggia i lampi, but they defy all the elements; not even rain
nulla mai li arresta, e vanno, e vanno sugli or lightning can stop them as they fly over
abissi e i mar. land and sea.
Vanno laggiù verso un paese strano che They fly toward a land of dreams which
sognan forse e che cercano in van. Ma i perhaps they seek in vain. But these gypsies
boèmi del ciel, seguon l’arcano poter che li of the sky follow a secret power that drives
sospinge, e van! E van! E van! E van! them, and they go on! They go on!
While Nedda has been dreaming, Tonio has been listening to her from hiding.
Just as Nedda is about to reenter the theater, she notices him.
Nedda: Nedda: (sharply to Tonio)

Sei là? Credea che te ne fossi andato! You here? I thought you’d gone to the tavern!
Tonio: Tonio: (laughing)

È colpa del tuo canto. Affascinato io mi The fault is your singing! I became entranced
beava! and it filled me with rapture!
Nedda: Nedda: (laughing mockingly)

Ah! Ah! Quanta poesia! Ha, ha! Just like a poet!
Tonio: Tonio:
Non rider, Nedda! Nedda, don’t laugh!
Nedda: Nedda:
Va, va all’osteria! Go away! Go to the tavern!
Tonio: Tonio:
So ben che difforme, contorto son io; che I know that I’m ugly and deformed;
desto soltanto lo scherno e l’orror. that I arouse only scorn and revulsion.
Eppure ha’l pensiero un sogno, un desio, e un But I too have dreams, desires, and a beating
palpito il cor! heart!
Allor che sdegnosa mi passi d’accanto, non When you turn away from me in disdain,
sai tu che pianto mi spreme il dolor! you don’t know how much it hurts me!
Perché, mio malgrado, subito ho l’incanto, Because, in spite of my sorrow, I’m
m’ha vinto l’amor! bewitched. Love has conquered me!
Oh! lasciami, lasciami or dirti... Let me, let me tell you…
Nedda: Nedda: (deriding him)

Che m’ami? Ah! Ah! Ah! That you love me? Ha! Ha! Ha!
Hai tempo a ridirmelo stasera, se brami! There’s time to tell me tonight!
Tonio: Tonio:
Nedda! Nedda!
Nedda: Nedda:
Stasera! Facendo le smorfie colà, colà, sulla Tonight! When you’ll be acting the fool, up
scena! there, on the stage!
Tonio: Tonio:
Non rider, Nedda! Nedda, don’t laugh!
Nedda: Nedda:
Hai tempo Facendo le smorfie colà! There’s plenty of time, when you’re acting
Ah! Ah! Ah! Ah! the fool up there! Ha! Ha! Ha! Ha!
Tonio: Tonio:
Non sai tu che pianto mi spreme il You don’t know how my pain moves me to
dolore!Non rider, no! Non rider! Subito ho tears! Don’t laugh! Don’t laugh! I’m
l’incanto, m’ha vinto l’amor! enchanted, love has conquered me!
Nedda: Nedda:
Per ora tal pena, ah, ah! Now it is painful, ha, ha!
Tonio: Tonio: (sadly and imploring)

Nedda! Nedda!
I PAGLIACCI Page 13
Nedda: Nedda:
Ah! Ah! Ha! Ha!
Tonio: Tonio:
Nedda! Nedda!
Nedda: Nedda:
Tal pena ti puoi risparmiar! You can save your sorrow!
Tonio: Tonio: (raving and impetuous)

No, è qui che voglio dirtelo, e tu m’ascolterai, No, I want to tell you, and you’ll listen to me.
che t’amo e ti desidero, e che tu mia sarai! I love and desire you, and you’ll be mine!
Nedda: Nedda: (beating him off with a stick)

Eh! Dite, mastro Tonio! La schiena oggi vi Hey! Tell me, Master Tonio! Does your back
prude, o una tirata d’orecchi è necessaria al itch for a beating, or do you need a boxing on
vostro ardor? your ears to tame your passion?
Tonio: Tonio:
Ti beffi? Sciagurata! Per la croce di Dio! Are you mocking me? By the cross of God!
Bada che puoi pagarla cara! Careful or you’ll pay for this dearly!
Nedda: Nedda:
Minacci? Vuoi che vada a chiamar Canio? Threatening me? Do you want me to call Canio?
Tonio: Tonio: (moving toward Nedda)

Non prima ch’io ti baci! Not before I’ve kissed you!
Nedda: Nedda: (drawing back)

Bada! Get back!
Tonio: Tonio: (trying to seize her)

Oh, tosto sarai mia! One day you’ll be mine!
Nedda sees the whip left by Beppe, and lashes Tonio across his face.
Nedda: Nedda:
Miserabile! You wretch!
Tonio: Tonio: (screaming in agony)

Per la Vergin pia di mezz’agosto, Nedda, By Our Lady of the Assumption,
giuro, me la pagherai! I swear you’ll pay me for this!
Tonio departs, threatening revenge.

Nedda: Nedda: (motionless, watching him leave)

Aspide! Va! Ti sei svelato ormai Tonio lo Scorpion! Go! At least you’ve revealed your
scemo! Hai l’animo siccome il corpo tuo true self as Tonio the idiot! Your soul is as
diforme, lurido! deformed and twisted as your body.
Silvio appears, after climbing over a wall.
Silvio: Silvio:
Nedda! Nedda!
Nedda: Nedda: (running to him)

Silvio! A quest’ora che imprudenza! Silvio! How foolish to come at this time!
Silvio: Silvio:
Ah bah! Sapea ch’io non rischiavo nulla. Bah! I knew it was no risk. I accompanied
Canio e Beppe da lunge a la taverna, a la Canio and Beppe to the tavern, miles away!
taverna ho scorto! Ma prudente per la Then I came back through the woods, on a
macchia a me nota qui ne venni. path I remembered.
Nedda: Nedda:
E ancora un poco in Tonio t’imbattevi! Earlier, you’d have bumped into Tonio!
Silvio: Silvio: (laughing)

Oh! Tonio il gobbo! Oh! Tonio that hunchback!
Nedda: Nedda:
Il gobbo è da temersi! M’ama. Ora qui mel The hunchback is dangerous! He loves me.
disse, e nel bestial delirio suo, baci chiedendo, Just before, in a burst of wild desire, he told
ardia correr su me! me he wanted to kiss me and throw himself
on me!
Silvio: Silvio:
Per Dio! My God!
Nedda: Nedda:
Ma con la frusta del cane immondo la foga But I calmed the filthy dog’s passion with the
calmai! whip!
Silvio: Silvio: (approaching Nedda tenderly)

E fra quest’ansie in eterno vivrai?! Do you want to continue living in this anguish?
Nedda! Nedda! Decidi il mio destin, Nedda! Nedda! Nedda! Nedda, decide my fate, and
Nedda, rimani! stay here with me!
Tu il sai, la festa ha fin e parte ognun domani. The holiday ends tomorrow, and everyone is
Nedda! Nedda! E quando tu di qui sarai leaving. Nedda! You’ll be gone from here.
partita, che addiverrà di me della mia vita?! What will become of me and my life?
Nedda: Nedda: (moved)

Silvio! Silvio!
I PAGLIACCI Page 15
Silvio: Silvio:
Nedda, Nedda, rispondimi: s’è ver che Canio Nedda, Nedda, answer me: if it’s true that you
non amasti mai, s’è ver che t’è in odio, il no longer love Canio, and you hate him and
ramingar e’l mestier che tu fai, se l’immenso this vagabond life; if your love for me is not
amor tuo una fola non è questa notte partiam! just a passing fancy, let’s run away together
Fuggi, fuggi con me! tonight! Escape with me!
Nedda: Nedda:
Non mi tentar! Vuoi tu perder la vita mia? Don’t tempt me! Do you want me to lose my
life?
Taci Silvio, non più. È deliro, è follìa! Quiet Silvio, no more. It’s madness, it’s folly!
Io mi confido a te, a te cui diedi il cor! I confide in you, and I’ve given you my heart!
Non abusar di me, del mio febbrile amor! Don’t abuse my burning love!
Non mi tentar! Non mi tentar! Don’t tempt me! Don’t tempt me!
Pietà di me! Non mi tentar!E poi. Have mercy on me! Don’t tempt me!
Chissà! Meglio è partir. Sta il destin contro Perhaps it is best that I’m leaving.
noi, è vano il nostro dir! Eppure dal mio cor Destiny has come between us, and our words
strapparti non poss’io, vivrò sol de l’amor are in vain! Yet I can’t tear myself away from
ch’hai destato al cor mio! you. I live with that love you have awakened!
Silvio: Silvio:
Ah! Nedda! Fuggiam! Ah! Nedda! Let’s escape!
Nedda: Nedda:
Ah! Non mi tentar! Ah! Don’t tempt me!
Silvio: Silvio:
Nedda rimani! Che mai sarà per me quando Nedda, stay here! But what will happen to me
sarai partita? Riman! Nedda! Fuggiam! after you have gone? Stay! Nedda! Let’s escape!
Silvio: Silvio:
No, più non m’ami! No, you don’t love me anymore!
Tonio: Tonio: (appearing in the background)

Ah! T’ascolta, sgualdrina! Ah! I’ve caught you, you slut!
Nedda: Nedda:
Che! What!
Silvio: Silvio:
Più non m’ami! You don’t love me anymore!
Nedda: Nedda:
Sì, t’amo! T’amo! Yes, I love you! I love you!
Silvio: Silvio:
E parti domattina? And you’re leaving tomorrow morning?
E allor perché, di’, tu m’hai stregato se vuoi Why did you bewitch me if you’re going to
lasciarmi senza pietà? leave me?
Quel bacio tuo perché me l’hai dato fra Why have you given me your kiss in
spasmi ardenti di voluttà? moments of passion?
Se tu scordasti l’ore fugaci, io non lo posso, e You may have forgotten those fleeting hours,
voglio ancor, que’ spasmi ardenti, que’ caldi but I cannot; those passionate moments, those
baci, che tanta febbre m’han messo in cor! feverish kisses implanted in my heart!
Nedda: Nedda: (overcome and yielding)

Nulla scordai, sconvolta e turbata m’ha I’ve forgotten nothing, but I’m confused and
questo amor che ne’l guardo ti sfavilla! overwhelmed by your love!
Viver voglio a te avvinta, affascinata, una vita I want to live with you - a life of calm and
d’amor calma e tranquilla! peaceful love!
A te mi dono; su me solo impera. Ed io ti I give myself to you. You’re the one who
prendo e m’abbandono intera! rules me! I surrender to you!
Tutto scordiam! Negli occhi mi guarda! Let’s forget everything! Look into my eyes!
Baciami, baciami! Tutto scordiamo! Kiss me, kiss me! Let’s forget everything!
Silvio: Silvio: (embracing Nedda)

Tutto scordiam! Let’s forget everything!
Ti guardo, ti bacio!Verrai? I look at you, I kiss you! Will you go with me?
I PAGLIACCI Page 17
Nedda: Nedda:
Si.Baciami! Si, mi guarda e mi bacia! Yes, kiss me! Yes, look at me and kiss me!
T’amo, t’amo. I love you, I love you.
Silvio: Silvio:
Si, ti guardo e ti bacio! Yes, Look at me and kiss me!
T’amo, t’amo. I love you, I love you.
While Nedda and Silvio are embraced rapturously, Canio and Tonio approach.
Tonio: Tonio: (restraining Canio)

Cammina adagio e li sorprenderai! Move quietly and you’ll surprise them!
Canio advances cautiously, but he is unable to see the lovers.

Silvio: Silvio:
Ad alta notte laggiù mi terrò. Cauta discendi e I’ll wait there for you at midnight. Go
mi ritroverai. carefully and you’ll find me waiting.
Nedda: Nedda:
A stanotte e per sempre tua sarò. Till tonight: I’ll be yours forever.
Canio: Canio: (discovering the lovers)

Ah! Ah!
Silvio runs away and flees.
Nedda: Nedda:
Fuggi! Escape!
Canio tries to rush after Silvio. Nedda tries to bar his way.
After a short struggle, Canio pushes her aside and pursues Silvio.
Tonio remains, staring at Nedda in triumph.
Nedda: Nedda:
Aitalo, Signor! May Heaven protect him!
Canio: Canio: (from the distance)

Vile! t’ascondi! The coward is hiding!
Tonio: Tonio: (laughing cynically)

Nedda: Nedda: (turning to Tonio)

Bravo! Bravo il mio Tonio! Bravo! Well done, Tonio!
Tonio: Tonio:
Fo quel che posso! I did all that I could do!
Nedda: Nedda:
È quello che pensavo! That’s what I expected!
Tonio: Tonio:
Ma di far assai meglio no dispero! Don’t despair, I’ll do better in the future!
Nedda: Nedda:
Mi fai schifo e ribrezzo! You disgust me!
Tonio: Tonio:
Oh non sai come lieto ne son! You don’t know how happy that makes me!
Canio returns, out of breath.
Canio: Canio: (with rage)

Derisione e scherno! Nulla! Ei ben lo conosce Derided and scorned! Nothing! He knows the
quel sentier. path too well.
(turning furiously to Nedda)
Fa lo stesso; poiché del drudo il nome or mi But no matter, because instead, you’ll tell me
dirai. your lover’ name.
Nedda: Nedda: (disturbed)

Chi? Who?
Canio: Canio: (becoming frenzied)

Tu, pel padre eterno! You! By the Eternal Father!
(Canio takes out a knife)

E se in questo momento qui scannata non The only reason why I haven’t cut your throat
t’ho già gli è perché pria di lordarla nel tuo yet is that I want his name before I dirty this
fetido sangue, o svergognata, codesta lama, io knife with your blood. I want to know his
vo’ il suo nome! Parla! name! Tell me!
Nedda: Nedda:
Vano è l’insulto. È muto il labbro mio. Insults are useless. My lips are sealed.
Canio: Canio: (shouting)

Il nome, il nome, non tardare, o donna! His name, don’t hesitate, wretched woman!
Nedda: Nedda:
No! No, nol dirò giammai! No! No, I’ll never tell!
Canio: Canio:
Per la madonna! By the Virgin!
I PAGLIACCI Page 19
Canio rushes toward Nedda. Beppe restrains him, snatches the knife from him,
and throws it to the ground.
Beppe: Beppe:
Padron! che fate! Per l’amor di Dio! La gente Master! What are you doing! For the love of
esce di chiesa e a lo spettacolo qui muove! God! The people are coming out of church to
Andiamo, via, calmatevi!. come to our performance! Let’s go, come on,
calm yourself down!
Canio: Canio: (struggling with Beppe)

Lasciami Beppe! Il nome! Il nome! Leave me alone, Beppe! His name!
Beppe: Beppe:
Tonio, vieni a tenerlo! Tonio, come here and hold him!
Canio: Canio:
Il nome! His name!
Beppe: Beppe:
Andiamo, arriva il pubblico! Vi spiegherete! Let’s go, the audience is arriving! Wait until
later!
Tonio seize Canio by the arm. Beppe turns to Nedda.
E voi di lì tiratevi. Andatevi a vestir. Sapete, And you, go and dress yourself. You know
Canio è violento, ma buon! Canio is violent, but he’s a good man!
(Beppe pushes Nedda toward the theater)
Canio: Canio: (holding his head in his hands)

Infamia! Infamia! Disgrace! Disgrace!
Tonio: Tonio:
Calmatevi padrone. È meglio fingere; il ganzo Calm yourself, master. It’s better to pretend.
tornerà. Di me fidatevi!Io la sorveglio. The lover will return. Trust me! I’ll watch
Ora facciam la recita. her. Now let’s give the performance.
Chissà ch’egli non venga a lo spettacolo e si Perhaps he’ll come to the show and give
tradisca! Or via. Bisogna fingere per riuscir! himself away! Pretend in order to succeed!
Beppe: Beppe: (as he leaves)

Andiamo, via, vestitevi padrone. We’d better go. Let’s get dressed.
(to Tonio)
E tu batti la cassa, Tonio! And you Tonio, beat your drum.
Both Tonio and Beppe depart. Canio remains alone, depressed and despairing.
Canio: Canio:
Recitar! Mentre presso dal delirio non so più I must perform, while I’m so delirious that I
quel che dico e quel che faccio! don’t know what I’m saying or what I’m doing!
Eppur è d’uopo, sforzati! Bah! Sei tu forse un Be strong! Aren’t you a man?
uom? Tu se’ Pagliaccio! You’re Pagliaccio, the clown!
Vesti la giubba e la faccia infarina. La gente Put on the clown costume and the makeup.
paga e rider vuole qua. E se Arlecchin The people pay and they want to laugh. And if
t’invola Colombina, ridi, Pagliaccio, e ognun Harlequin steals your Columbine, laugh
applaudirà! Pagliaccio, and every one will applaud!
Tramuta in lazzi lo spasmo ed il pianto; in una Turn your tears and anguish into laughter, and
smorfia il singhiozzo e’l dolor. your face into a grimace and sorrows.
Ah! Ridi, Pagliaccio, sul tuo amore in franto! Laugh at your broken love, and the grief that
Ridi del duol t’avvelena il cor! poisons your heart!
Weeping, Canio moves slowly toward the theater. He reaches the curtain, pushes it roughly, and
recoils in fury. Then he is seized by sobbing and buries his face in his hands. He moves toward
the curtain again, enters, and disappears inside the theater.
Act II
The play is about to begin. Beppe blows a trumpet, and Tonio beats the big drum.
Villagers arrive from all directions. Beppe places benches for the women.

Ohé! Ohé! Presto! Presto! Presto Oh! Oh! Hurry! Hurry! Come on neighbors,
affrettiamoci, svelto, compare! we’ve got to hurry!
Tonio: Tonio: (striking the drum)

Avanti, avanti, avanti, avanti! Come on, come one, come on, come on!

Chè lo spettacolo dee cominciare. O Dio che The performance is about to begin. Oh God,
correr per giunger tosto! what a struggle to get here!
I PAGLIACCI Page 21
Tonio: Tonio:
Si dà principio! It’s going to start soon!

Presto compari, ci affrettiam. Dee lo spettacol Hurry friends, let’s hurry up! The
cominciar. performance is about to begin.
Tonio: Tonio:
Si dà principio, avanti, avanti! It’s beginning, come on, come on!
Contadini: Village men:

Veh, come, come corrono le bricconcelle! Say, look how the girls are scrambling!

Che correre mio Dio! Good Lord, what rushing!

Accomodatevi comari belle! You’ll find some places here, pretty ladies!
Contadine: Village ladies:

Per giunger tosto qua. Well, we must be on time.
Silvio arrives, nods to friends, and takes a seat in the back.
Tonio: Tonio:
Pigliate posto! Take your places!

Cerchiamo posto! Let’s find a seat!
Tonio: Tonio:
Pigliate posto! Take your places!

Ben sul davanti. Cerchiam di metterci ben sul It’s better up front. Let’s try to find seats up
davanti, chè lo spettacolo dee cominciare. front. The performance is about to begin.
Tonio: Tonio:
Avanti! Come on!

Spicciatevi! Hurry up!
Tonio: Tonio:
Pigliate posto! Su! Take your seats!

Via su spicciatevi, incominciate. Perchè Come on, hurry up and begin. What are you
tardate mai? Perchè tardate? Siam tutti là! waiting for? Why so late? We’re all here!
Tonio: Tonio:
Avanti, avanti, avanti, avanti! Come on, come on, come on, come on!
Tonio exits behind the theater, carrying away the big drum.
Beppe goes to settle some of the women, who are quarreling about their seats.
Contadine: Villagers:
Ma non pigiatevi, fa caldo! Su, Beppe, Stop pushing, it’s so hot! Get up, Beppe, help
aiutaci! Beppe! us! Beppe!

Veh! s’accapigliano! chiamano aiuto! Sedete, Look, they’re tearing their hair out! They’re
via, senza gridar! calling for help! Sit down, and stop shouting!
Contadine: Village ladies:

Su, v’è posto accanto! Su, Peppe, aiutaci! Ma Up, there’s a seat on the side! Up, Beppe,
non pigiatevi, fa caldo tanto! help use! Stop pushing, it’s so hot in here!

Ma via sedetevi! Sedete, via, senza gridar! Sit down right away, and stop shouting!
Beppe: Beppe:
Sedete, via, senza gridar! Sit down, and stop shouting!
Nedda, dressed a Columbine, goes around the audience with a plate to collect money.
Silvio approaches her.
Silvio: Silvio: (while paying for his seat)

(Nedda!) (Nedda!)
Nedda: Nedda:
(Sii cauto! Non t’ha veduto!) (Be careful! Don’t let him see you!)
Silvio: Silvio:
(Verrò ad attenderti. Non obliar!) (I’ll come and wait. Don’t forget!)

Suvvia, spicciatevi! Perché tardate? Go on! Begin! Why so late? Begin! Why the
Incominciate! Perché indugiate? delay?
Beppe: Beppe:
Che furia! Diavolo! Prima pagate, Nedda What anger! Devil! First pay. Nedda take the
incassate! payment!
I PAGLIACCI Page 23
After Nedda collects the money, she enters the theater with Beppe.

Di qua! Di qua! Incominciate! Perchè tardar? Here! This way! Let’s begin! Why so late?
Spicciate, incominciate. Perchè tardar? Let’s begin. Why so late? Begin the play!
Suvvia questa commedia! Facciam rumor, sì, Let’s make noise, yes!
sì, facciam rumore! Diggià, diggià, suonar He said eleven o’ clock! Let’s make noise!
ventitré ore! Facciam rumor! Facciam rumor! Everyone want to be entertained!
Allo spettacolo ognun anela!Ah! Everyone’s waiting for the performance!
A bell rings loudly from inside the theater. The crowd responds with satisfaction.
S’alza la tela! Silenzio! Silenzio! Olà! Olà! Ah! The curtain rises! Quiet! Be still!
The Play
The small theater curtain rises. The scene is a small room,, roughly painted, with two side
doors, and a window at the back. There is a table and two chairs. Nedda is dressed as
Columbine, and is seated near the table. From time to time she looks anxiously at the door.
Then she rises, goes to look out the window, and then returns, pacing about restlessly.
Colombina: Columbine:
Pagliaccio mio marito a tarda notte sol Pagliaccio, my husband, is coming home late
ritornerà. tonight.
E quello scimunito di Taddeo perché mai non And as for that idiot Taddeo, why isn’t he
è ancor qua? here yet?
Columbine hears the sound of a guitar. She rushes to the window with a cry of joy.
Arlecchino: Harlequin: (from outside)

O Colombina, il tenero fido Arlecchin è a te Columbine, your faithful Harlequin waits for
vicin! Di te chiamando, e sospirando aspetta il you, sighing and crying!
poverin!
La tua faccetta mostrami, ch’io vo’ baciar I long to kiss your little mouth. Don’t delay.
senza tardar. La tua boccuccia. Amor mi Love torments me! Love provokes me and I
cruccia! Amor mi cruccia e mi sta a am tormented!
tormentar! Ah! E mi sta a tormentar! Ah! I am tormented!
O Colombina, schiudimi il finestrin, che a te Columbine, open the window for your poor
vicin di te chiamando, e sospirando è il povero Harlequin, who is near and calls you,
Arlecchin! A te vicin è Arlecchin! your poor sighing Harlequin!
Colombina: Columbine: (anxiously)

Di fare il segno convenuto appressa l’istante, It’s time to give the signal we agreed upon,
ed Arlecchino aspetta! that Harlequin awaits!
Columbine sits down at the table.

Tonio, dressed as the servant Taddeo, peeps through the door and watches Nedda.
Then he addresses her in mock-tragic style.
Taddeo: Taddeo:
È dessa! Dei, come è bella! She is so lovely!
He raises the bread basket aloft.
Taddeo: Taddeo:
Se a la rubella io disvelassi l’amor mio che I shall tell her how much I love her, a love
commuove fino i sassi! Lungi è lo sposo. that could move rocks! Her husband is away,
Perché non oso? Soli noi siamo e senza alcun so why not? We’re alone, without suspicion,
sospetto! Orsù. Proviamo! so let’s try!
Taddeo expresses a long, exaggerated sigh. The spectators laugh.
Colombina: Columbine: (without turning or rising)

Sei tu, bestia? Is that you, beast?
Taddeo: Taddeo: (without moving)

Quell’io son, sì! It is I, yes!
E Pagliaccio è partito? Has Pagliaccio gone?
Taddeo: Taddeo:
Egli parti! He has gone!
Che fai così impalato? What are you doing there?
Il pollo hai tu comprato? Did you buy the chicken?
Taddeo: Taddeo:
Eccolo, vergin divina! Ed anzi, eccoci Look at it, a divine maid!
entrambi ai piedi tuoi! Poiché l’ora è suonata, We’re both at your feet! The hour has struck
o Colombina, di svelarti il mio cor! for me to reveal my heart! Columbine, do you
Di’, udirmi vuoi? Dal dì... want to hear? Since the first…
I PAGLIACCI Page 25
Quanto spendesti dal trattore? How much did you spend at the tavern?
Taddeo: Taddeo:
Una e cinquanta. Da quel dì il mio core, il Fifty one. Since then, my heart has grown
mio core... fond of you….
Colombina:
Non seccarmi Taddeo! Columbine: (close to the table)
Don’t bore me, Taddeo!
Columbine snatches the basket from him, places it on the table
and then goes to the window, opens its, and makes a signal to Harlequin.
Taddeo: Taddeo: (to Columbine, with intension)
So che sei pura, so che sei pura! sei pura e I know that you are pure. You and pure and
casta al par di neve! Sì, casta! Al par di neve! chaste like driven snow!
E ben che dura, dura ti mostri, dura, ad And although you seem cold, I cannot forget
obliarti non riesco no! Non riesco! you!
Arlecchino: Harlequin: (interrupting Taddeo)

Va a pigliar fresco! Get some fresh air!
Taddeo: Taddeo:
Numi! s’aman! M’arrendo ai detti tuoi. Vi Heavens! They’re in love!
benedico! Là veglio su voi! I give me blessing! I’ll keep watch!
Harlequin jumps through the window, takes out a bottle and puts it down.
Then he goes cautiously behind Taddeo, who pretends not to see him.
Arlecchin! Harlequin!
Arlecchino: Harlequin:
Colombina! Alfin s’arrenda ai nostri prieghi Columbine! At last, love has answered our
amor! prayers!
Facciam merenda. Let’s have supper.
Taddeo exits. The audience laughs and applauds.

Columbine and Harlequin gaze at each other with exaggerated fondness.
Columbine arranges the table with knives, forks and spoons for two.
She places the fowl on the table, while Harlequin retrieves the bottle he left on the ground.
Guarda, amor mio, che splendida cenetta Look, my love, at the splendid little supper I
preparai! have prepared!
Guarda, amor mio, che nettare divino Look, my love, at the divine nectar I have
t’apportai! brought you!
A due: Both:
L’amore ama gli effluvii del vin, de la cuccina! Love enjoys a feast of food and wine!
Mia ghiotta Colombina! My gluttonous Columbine!
Amabile beone! My loving drunkard!
Arlecchino: Harlequin: (taking a vial from his tunic)

Prendi questo narcotico; dallo a Pagliaccio Take this sleeping draught. Give it to
pria che s’addormenti, e poi fuggiamo insiem! Pagliaccio before he goes to sleep, and then
we’ll run away together!
Sì, porgi! Yes, give it to me!
Taddeo: Taddeo: (exaggerating with mock alarm)

Attenti! Pagliaccio, è là, tutto stravolto, ed Look out! Pagliaccio is here, trembling, and
armi cerca!. Ei sa tutto. seeking weapons! He knows everything.
Io corro a barricarmi! I’m running to seek cover!
Colombina: Columbine: (to Harlequin)

Via! Get out of here!
Arlecchino: Harlequin: (Leaping out of the window)

Versa il filtro ne la tazza sua! Empty the drug in his cup!
Colombina: Columbine: (at the window, to Harlequin)

A stanotte. E per sempre io sarò tua! Till tonight: I’ll be yours forever!
Canio: Canio: (places his hand on his heart)

(Nome di Dio! quelle stesse parole!) (My God, the very same words!)
Canio enters, in the costume of Pagliaccio.
Coraggio! Courage!
Un uomo era con te! A man was with you!
I PAGLIACCI Page 27
Nedda: Nedda:
Che folle! Sei briaco? What nonsense! Are you drunk?
Canio: Canio: (restraining himself)

Briaco! Sì, da un’ora!! Drunk! Yes, for about an hour!
Nedda: Nedda: (resuming the play)

Tornasti presto. You returned rather early.
Canio: Canio: (intensively)

Ma in tempo! But just in time!
T’accora? T’accora! Dolce sposina! Are you sorry? My sweet little wife!
Ah! Sola io ti credea e due posti son là! I thought you were alone, but there are two
places here!
Nedda: Nedda:
Con me sedea Taddeo, che là si chiuse per Taddeo was sitting with me, but he’s shut
paura! himself up because he’s frightened!
Orsù. Parla! Come out! Speak up!
Taddeo comes forward, playing his part.

Taddeo: Taddeo: (pretending fear)
Credetela! Credetela! Essa è pura!! E abborre Believe her! Believe her! She is faithful!
dal mentir quel labbro pio! Those pious lips could not lie!

Ah! Ah! Ah! Ah! Ha! Ha! Ha! Ha!
Canio: Canio: (fiercely to the audience)

Per la morte! Smettiamo! For God’s sake, that’s enough!
Ho dritto anch’io d’agir come un’altr’uomo. I also have a right to act like a man.
Il nome suo? Tell me his name?
Nedda: Nedda: (coldly and laughing)

Di chi? Of whom?
Canio: Canio:
Vo’ il nome de l’amante tuo, del drudo infame The name of your lover, the wretched
a cui ti desti in braccio, o turpe donna! scoundrel I surprised in your arms, you
shameless woman!
Nedda: Nedda: (maintaining the play and joking)

Pagliaccio! Pagliaccio! Pagliaccio! Pagliaccio!
Canio: Canio:
No! Pagliaccio non son; se il viso è pallido, è No! I’m not Pagliaccio. If my face is pale, it’s
di vergogna, e smania di vendetta! from shame and my craze for vengeance!
L’uom riprende i suoi dritti, e’l cor che A man has rights, and a bleeding heart needs
sanguina vuol sangue a lavar l’onta, o blood to wash away the shame, you cursed
maledetta! woman!
No, Pagliaccio non son! Son quei che stolido No, I’m not Pagliaccio! I’m the fool who took
ti raccolse orfanella in su la via quasi morta di you off the streets, as a starving orphan.
fame, e un nome offriati, ed un amor ch’era I offered you a name, and a passionate,
febbre e follia! foolish love!
Contadine: Village Women:

Comare, mi fa piangere! Par vera questa Oh Lord, he’s made me cry! The play is so
scena! true to life!
Contadini: Village Men:

Zitte laggiù! Che diamine! Quiet down there! What devils!
Silvio: Silvio: (aside)

(Io mi ritengo appena!) (I can hardly bear it!)
Canio: Canio:
Sperai, tanto il delirio accecato m’aveva, se I hoped, if not for love, at least for pity and
non amor, pietà, mercè! compassion!
Ed ogni sacrifizio al cor lieto, imponeva, e I was happy to sacrifice my heart, and I
fidente credeva più che in Dio stesso, in te! trusted you more than God!
Ma il vizio alberga sol ne l’alma tua negletta; But your careless spirit has no heart. You are
tu viscere non hai sol legge e’l senso a te! ruled by your senses.
Va, non merti il mio duol, o meretrice abbietta, You are unworthy of my grief. I want to crush
vo’ ne lo sprezzo mio schiacciarti sotto i piè! you beneath my foot in disgust.
La Folla: The Crowd: (enthusiastically)

Bravo! Bravo!
Nedda: Nedda: (seriously, pretending to be calm)

Ebben! Se mi giudichi di te indegna, mi Well! If you’ve judged me to be unworthy,
scaccia in questo istante. then send me away at once.
I PAGLIACCI Page 29
Canio: Canio: (laughing)

Ah! Ah! Di meglio chiedere non dèi che correr Ha! Ha! And let you run to your dear lover?
tosto al caro amante. Se’ furba! No! per Dio! How cunning you are! No! You’ll stay here
Tu resterai, e il nome del tuo ganzo mi dirai! and tell me your lover’s name!
Nedda: Nedda: (trying to resume the play)

Suvvia, così terribile davver non ti credeo! I didn’t know you could be so frightening.
Qui nulla v’ha di tragico. Nothing tragic has happened here.
Vieni a dirgli o Taddeo, che l’uom seduto or Come Taddeo, answer him. Tell him that the
dianzi, or dianzi a me vicino era il pauroso ed man sitting here with me just a short while
innocuo Arlecchino! ago was the innocent little Harlequin!
Canio: Canio: (halting the audience’s laughter)

Ah! Tu mi sfidi! E ancor non l’hai capita Ah! You still defy me! Don’t you understand?
ch’io non ti cedo? Il nome, o la tua vita! Il I have not yielded? I want his name, or your
nome! life!
Nedda: Nedda: (bursting out)

Ah! No, per mia madre! Indegna esser poss’io Ah! I swear by my mother! If you want, call
quello che vuoi, ma vil non son, per Dio! me faithless, but I’m not vile!

Fanno davvero? Seria è la cosa? Zitti laggiù! Is this reality? Is this serious? Quiet down
Seria è la cosa e scura! there! They must surely mean it!
Silvio: Silvio: (aside)

Io non resisto più! I can’t hold back any longer!
Oh la strana commedia! What a strange performance!
Beppe: Beppe: (restrained from leaving by Tonio)

Bisogna uscire, Tonio. Ho paura! We must get out of here, Tonio. I’m afraid!
Tonio: Tonio:
Taci sciocco! Quiet, you idiot!
Nedda: Nedda:
Di quel tuo sdegno è l’amor mio più forte! I’m not a coward. My love is stronger than
Non parlerò! No! A costo de la morte! your anger! No! Not even if you kill me!
Canio: Canio: (Tonio gives Canio a knife)

Il nome! Il nome! His name! His name!
Nedda: Nedda: (defying Canio)

No! No!
Silvio: Silvio: (drawing his knife)

Santo diavolo! Fa davvero. Hell and damnation! He means it.
La Folla e Beppe: The Crowd and Beppe:

Che fai! Ferma! Aita! My God! Stop! Help!
Canio: Canio: (throwing Nedda to the ground)

A te! A te! Di morte negli spasimi lo dirai! For you! Perhaps in death’s last agony you’ll
speak!
Nedda: Nedda: (falls, choking)

Soccorso! Silvio! Help! Silvio!
Silvio: Silvio:
Nedda! Nedda!
Nedda tries to escape toward the audience, but Canio seizes her,
and stabs her with his knife. Then he sees Silvio, who has come forward to help Nedda.
Canio: Canio:
Ah! Sei tu? Ben venga! Ah! So it is you! It is well you came!
Canio turns toward Silvio and stabs him in the heart. He falls, as if struck by lightning.
La Folla: The Crowd: (shrieking)

Arresta! Gesummaria! Arrest him! Merciful Heaven!
Canio: Canio:
La commedia è finita! The play is over!
Canio is stupefied, and lets his knife fall. Several villagers advance toward him to arrest him.

I Pagliacci - Opera Journeys Libretto Series

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I Pagliacci - Opera Journeys Libretto Series

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______________________________________________________________________________

Burton D. Fisher, editor,

OPERA CLASSICS LIBRARY ™ SERIES

• Aida • Andrea Chénier • The Barber of Seville

Copyright © 2002 by Opera Journeys Publishing

OPERA JOURNEYS LIBRETTO SERIES

Edited by Burton D. Fisher

It is 3:00 o’clock in the afternoon. The sun is bright.

Coro di contadini e contadine: Chorus of Villagers: (arriving slowly)

Contadini e Contadine: Chorus of Villagers:

Canio: Canio: (from a distance)

Contadini, Contadine e Ragazzi: Villagers and boys:

La Folla: The Crowd:

A picturesque cart arrives, painted in various colors.

La Folla: The Crowd:

La Folla: The Crowd:

La Folla: The Crowd:

La Folla: The Crowd:

Canio: Canio: (beating the drum to quiet the crowd)

La Folla: The Crowd: (covering their ears)

Canio: Canio: (making a comic salute with his hat)

La Folla: The Crowd: (laughing)

La Folla: The Crowd:

La Folla: The Crowd:

La Folla: The Crowd: (laughing at Tonio)

Contadine: Villagers: (ridiculing Tonio)

Ragazzi: Boys: (whistling at Tonio)

Tonio: Tonio: (aside)

Un Contadino: A Villager: (to Canio)

Canio: Canio: (shouting toward Beppe)

Tonio: Tonio: (from inside)

Un altro Contadino: Another Villager: (jestingly)

Canio: Canio: (smiling but annoyed)

Nedda: Nedda: (aside)

Canio: Canio: (moved)

Canio approaches Nedda and kisses her on the forehead.

Monelli: Boys: (shouting)

Contadini e Contadine: Villagers:

Contadini e Contadine: Villagers:

Nedda: Nedda: (profoundly)

Nedda looks toward the sky.

Nedda: Nedda: (sharply to Tonio)

Tonio: Tonio: (laughing)

Nedda: Nedda: (laughing mockingly)

Nedda: Nedda: (deriding him)

Tonio: Tonio: (sadly and imploring)

Tonio: Tonio: (raving and impetuous)

Nedda: Nedda: (beating him off with a stick)

Tonio: Tonio: (moving toward Nedda)

Nedda: Nedda: (drawing back)

Tonio: Tonio: (trying to seize her)

Tonio: Tonio: (screaming in agony)

Tonio departs, threatening revenge.

Nedda: Nedda: (motionless, watching him leave)

Silvio appears, after climbing over a wall.

Nedda: Nedda: (running to him)

Silvio: Silvio: (laughing)

Silvio: Silvio: (approaching Nedda tenderly)

Nedda: Nedda: (moved)

Tonio: Tonio: (appearing in the background)

Nedda: Nedda: (overcome and yielding)

Silvio: Silvio: (embracing Nedda)

Tonio: Tonio: (restraining Canio)

Canio advances cautiously, but he is unable to see the lovers.