The Metropolitan Opera Presents: Season 19, Episode 1

Il Tabarro/Pagliacci (26 Sep. 1994)
"Live from the Metropolitan Opera" Il Tabarro/Pagliacci (original title)

TV Episode  |   |  Music
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Giorgetta is on the deck of a barge doing domestic chores, while her husband Michele, the barge-owner, stands silently gazing at the sunset. Giorgetta offers a glass of wine all round; ... See full summary »

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Title: Il Tabarro/Pagliacci (26 Sep 1994)

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Cast

Episode credited cast:
Teresa Stratas ...
Giorgetta / Nedda
...
Luigi
Juan Pons ...
Michele / Tonio
Florence Quivar ...
La Frugola
Federico Davia ...
Il Talpa
Charles Anthony ...
Il Tinca
Philip Creech ...
Venditore di canzonette
Yvonne Gonzales ...
Lovers
Tony Stevenson ...
Lovers
...
Dwayne Croft ...
Silvio
...
Beppe (as Kenn Chester)
Glenn Bater ...
Villager
John Hanriot ...
Villager
Rest of cast listed alphabetically:
...
Himself - Conducted by
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Storyline

Giorgetta is on the deck of a barge doing domestic chores, while her husband Michele, the barge-owner, stands silently gazing at the sunset. Giorgetta offers a glass of wine all round; stevedores Luigi (tenor), Tinca (tenor) and Talpa (bass) gladly accept. Giorgetta dances with the stevedores until she realizes that Michele's behavior seems odd. La Frugola (mezzo-soprano) comes in looking for her husband, Talpa. When the men return, having finished their work, Tinca goes off to a tavern to get drunk, unhappy about his unfaithful wife. Luigi sings about the hardships of a stevedore's life, and La Frugola dreams of living in a cottage in the country. Giorgetta, on the other hand, longs for Paris, where she was born. When Luigi and Giorgetta are alone together, he tells her he is in love with her, and he would stab her to the heart than have her be with another man. They agree to meet that night and she will signal him with a lighted match when it is safe to come to the barge. Giorgetta ... Written by Anonymous

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26 September 1994 (USA)  »

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1.33 : 1
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User Reviews

 
Excellent production of an amazing opera
10 May 2011 | by (United Kingdom) – See all my reviews

I have been a fan of opera for a very long time, and Pagliacci since performing in the chorus 4 years ago when I was 15 has been a firm favourite with its dramatically and thematically powerful story and outstanding music. This 1994 Met production is just excellent in all respects.

Words cannot describe how much I adore Leoncavallo's music for Pagliacci. From the stirring prologue, to the delicate duet between Nedda and Silvio, the heartbreaking Vesti La Guibba, the amusing interaction between Nedda and Tonio and the edge-of-your-seat-inducing Non Pagliaccio non son. Thanks to the superb orchestral playing and lively conducting these traits are brought to life brilliantly.

The sets are constructed very nicely and the costumes are beautiful, especially Nedda's dress in the play scene. The videography is interesting and skillful, while in terms of staging Non Pagliaccio non son is everything the music makes it promise to be, in short incredibly stirring and intense. The production has some fine performances too, the chorus do a fine job and have a stronger balance and entries than in the 1978 production, which had its flaws but worth catching for Domingo, Milnes and the hilarious interaction between Nedda and Tonio in the play scene.

Luciano Pavarotti is wonderful as Canio, though my favourite interpretors of the role are Placido Domingo and Jon Vickers. Although I have said before there are times where I don't think of him much as an actor, here especially in Vesti La Guibba he shines and overall this is one of his best acting performances. No matter of that though, I will always love him for his infectious personality and unique and rich voice. Teresa Stratas is a perfect Nedda, being both bitchy and vulnerable. Not only does she sing a dream but I agree she outclasses Pavarotti in the acting department and her smouldering chemistry with Silvio(beautifully performed by Dwayne Croft) is divine. Juan Pons impressed me hugely as Tonio, he does have a strong voice and acting-wise for me he was the best of the principles being able to make us feel disgust, sympathy and amusement for him and his character.

Overall, excellent. I also recommend highly the 1948, 1968 and 1982 productions. 10/10 Bethany Cox


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