Identifier: favouriteoperasf00hadd (find matches)
Title: Favourite operas from Mozart to Mascagni : their plots, history and music
Year: 1910 (1910s)
Authors: Hadden, J. Cuthbert (James Cuthbert), 1861-1914
Subjects: Operas
Publisher: New York : Thomas Nelson
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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its naked grimness. WhenCanio rushes after Silvio, the orchestra works upagitato^ this theme being very prominent. Thetheme also plays an important part, along withCanios revenge-motive, in the accompaniment olthe rest of this scene, in which declamatory andtragic force are conspicuous features. Canio*s solo is one of the gems of the opera.His jealous rage, his rebellion against fate, hisdespair at having to act the clown when death isin his soul, are all graphically depicted in this finemelody, which, in its pathos, rises to such a dramaticheight. As Canio moves slowly towards the theatrethe despair-motive is heard in the orchestra, and nowin the major key—a truly dramatic touch. Thusthe first Act is brought to an effective close, leavingthe listener with a sad feeling of utter hopelessness. Intermezzo.—The principal feature of this move-ment is the theme first sung by Tonio in the pro-logue. Although the Pagliacci intermezzo has not achieved the same fame as that by the com- 272
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Columbine and Harlequin at supper THE MUSIC posers fellow-countryman, it serves a somewhatsimilar purpose, in affording relief to this stirringdrama of strong passions, while musically perhaps itis more deserving of appreciation. Act 2.—The second Act, like the first, beginswith trumpet calls and general bustle, as the vil-lagers assemble for the play. Much of the music ofthe opening chorus is repeated, and the same atmos-phere prevails. The play opens with a minuet of quite old-worldflavour, during which the Columbine lets it be under-stood that in her husbands absence she is awaitingher lover, the Harlequin. The serenade which hesings outside her window, with its pizzicato accom-paniment, is quite in the old Italian troubadourstyle, and the gavotte heard later on might havebeen written by Mozart. Indeed we should specially mark here the wonderful contrast between thisplay within a play and the real tragedy underlyingit, as illustrating what Canio sings in the first Act: The stage

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