Ruggiero Leoncavallo  
Ruggiero Leoncavallo
Ruggero (or Ruggiero) Giacomo Maria Giuseppe Emmanuele Raffaele Domenico Vincenzo Francesco Donato Leoncavallo (Italian pronunciation: [rudˈdʒɛːro leoŋkaˈvallo]; 23 April 1857 – 9 August 1919) was an Italian opera composer. His two-act work Pagliacci remains one of the most popular works in the repertory, appearing as number 19 on the Operabase list of the most-performed operas worldwide in the 2012/13 season.


The son of a judge, Leoncavallo was born in Naples on 23 April 1857. As child he moved with his father in the town of Montalto Uffugo in Calabria where Leoncavallo lived during his adolescence. He later returned to Naples and was educated at the city's San Pietro a Majella Conservatory. After some years spent teaching and in ineffective attempts to obtain the production of more than one opera, he saw the enormous success of Pietro Mascagni's Cavalleria rusticana in 1890, and he wasted no time in producing his own verismo hit, Pagliacci.

Pagliacci was performed in Milan in 1892 with immediate success; today it is the only work by Leoncavallo in the standard operatic repertory. Its most famous aria "Vesti la giubba" ("Put on the costume" or, in the better-known older translation, "On with the motley") was recorded by Enrico Caruso and laid claim to being the world's first record to sell a million copies (although this is probably a total of Caruso's various versions of it made in 1902, 1904 and 1907).

The next year his I Medici was also produced in Milan, but neither it nor Chatterton (belatedly produced in 1896)—both early works—obtained much lasting favour. Much of Chatterton, however, was recorded by the Gramophone Company (later HMV) as early as 1908, and remastered on CD almost 100 years later by Marston Records. Leoncavallo himself conducts the performance or at very least supervises the production.

It was not until Leoncavallo's La bohème was performed in 1897 in Venice that his talent obtained public confirmation. However, it was outshone by Puccini's opera of the same name and on the same subject, which was premiered in 1896. Two tenor arias from Leoncavallo's version are still occasionally performed, especially in Italy.

Subsequent operas by Leoncavallo were in the 1900s: Zazà (the opera of Geraldine Farrar's famous 1922 farewell performance at the Metropolitan Opera), and 1904's Der Roland von Berlin. In 1906 the composer brought singers and orchestral musicians from La Scala to perform concerts of his music in New York, as well as an extensive tour of the United States. The tour was, all in all, a qualified success. He had a brief success with Zingari which premiered in Italian in London in 1912, with a long run at the Hippodrome Theatre. Zingari also reached the United States but soon disappeared from the repertoire.

After a series of operettas, Leoncavallo appeared to have tried for one last serious effort with Edipo re (it). It had always been assumed that Leoncavallo had finished the work but had died before he could finish the orchestration, which was completed by Giovanni Pennacchio (it). However with the publication of Konrad Dryden's biography of Leoncavallo it was revealed that Leoncavallo may not have written the work at all (although it certainly contains themes by Leoncavallo). A review of Dryden's study notes: "That fine Edipo re ... was not even composed by [Leoncavallo]. His widow paid another composer to concoct a new opera using the music of Der Roland von Berlin. Dryden didn't find one reference to the opera in Leoncavallo’s correspondence nor is there a single note by him to be found in the handwritten score."

What is certain is that in Edipo re, a short one act work, the composer (whoever it actually was) uses exactly the same melody for the final scene "Miei poveri fior, per voi non più sole..." (with the blinded Edipo) as in the act 4 soprano aria from Der Roland von Berlin. It has been assumed (see The New Grove Dictionary of Opera) that Leoncavallo left the opera more or less complete (except for the orchestration). Pennacchio may either have concocted the opera or may have had to do more to Leoncavallo's more or less complete work to "fill in the gaps" using Leoncavallo's earlier music. Another clue to demonstrate that Leoncavallo had no or little part in Edipo re is that unusually, in fact exceptionally, Leoncavallo did not write the libretto. The libretto for Edipo re was written by Giovacchino Forzano, who also wrote Il piccolo Marat for Pietro Mascagni and two of the one-act operas for Puccini's Il trittico. Further, the orchestration of Edipor re, consisting all too often of massed strings and a depressingly constant use of the cymbal, does not seem the work of Leoncavallo whose own orchestration, whilst sometimes uninspired, is at very least competent.

From the 1970s Edipo re has had a number of revivals, both as concert performances (including Rome 1972, Concertgebouw (Amsterdam) 1977 and Konzerthaus, Vienna 1998) as well as fully staged productions at the Teatro Regio, Turin, in 2002 and the Thessaloniki Opera 2008. It remains to be seen who will be given the credit for this opera in future revivals.

Little or nothing from Leoncavallo's other operas is heard today, but the baritone arias from Zazà were great concert and recording favourites among baritones and Zazà as a whole is sometimes revived, as is his La bohème. The tenor arias from La bohème remain recording favorites.

Leoncavallo also composed songs, most famously Mattinata, which he wrote for the Gramophone Company (which became HMV) with Caruso's unique voice in mind. On 8 April 1904, Leoncavallo accompanied Caruso at the piano as they recorded the song. On 8 December 1905 he recorded five of his own pieces for the reproducing piano Welte-Mignon.

Leoncavallo was the librettist for most of his own operas. Many considered him the greatest Italian librettist of his time after Boito. Among Leoncavallo's libretti for other composers is his contribution to the libretto for Puccini's Manon Lescaut.

Ruggero Leoncavallo died in Montecatini Terme, Tuscany, on 9 August 1919.


Pagliacci – 21 May 1892, Teatro Dal Verme, Milan.
I Medici – 9 November 1893, Teatro Dal Verme, Milan). (The first part of the uncompleted trilogy, Crepusculum.)
Chatterton – 10 March 1896, Teatro Argentina, Rome. (Revision of a work written in 1876.)
La bohème – 6 May 1897, Teatro La Fenice, Venice.
Zazà – 10 November 1900, Teatro Lirico, Milan.
Der Roland von Berlin – 13 December 1904, Städtische Oper, Berlin.
Maïa – 15 January 1910, Teatro Costanzi, Rome.
Zingari – 16 September 1912, Hippodrome, London.
Mimi Pinson – 1913, Teatro Massimo, Palermo. (Revision of La bohème.)
Goffredo Mameli – 27 April 1916, Teatro Carlo Felice, Genoa. (Note that the Fondazione Leoncavallo classes this as an opera rather than an operetta.[14])
Edipo re – 13 December 1920, Chicago Opera. (Produced after the composer's death, at very least orchestration not by Leoncavallo, completed or perhaps composed by Giovanni Pennacchio)


La jeunesse de Figaro – 1906, USA
Malbrouck – 19 January 1910, Teatro Nazionale, Rome.
La reginetta delle rose – 24 June 1912, Teatro Costanzi, Rome.
Are You There? – 1 November 1913, Prince of Wales Theatre, London.
La candidata – 6 February 1915, Teatro Nazionale, Rome.
Prestami tua moglie – 2 September 1916, Casino delle Terme, Montecatini. (English title: Lend me your wife.)
A chi la giarrettiera? – 16 October 1919, Teatro Adriano, Rome. (English title: Whose Garter Is This?) Produced after the composer's death.
Il primo bacio – 29 April 1923 Salone di cura, Montecatini. Produced after the composer's death.
La maschera nuda – 26 June 1925 Teatro Politeama, Naples. Produced after the composer's death.
Other works[edit]
La nuit de mai – poème symphonique for tenor and orchestra after Alfred de Musset, Paris 1886 (also performed and recorded in 1990 and – with Plácido Domingo – in 2010)
Séraphitus Séraphita – Poema Sinfonico after Honoré de Balzac, Teatro alla Scala, Milan 1894

From Wikipedia, the free encyclopedia


The son of a police magistrate, Leoncavallo was born in Naples and entered the Conservatoire there in 1866. He remained for ten years before moving on to Bologna University to broaden his education, and received a degree in literature two years later. Leoncavallo then arranged to have his first opera, Chatterton, performed, raising the money himself. His efforts failed when the impresario organizing the venture absconded, taking the funds with him.

The composer spent the next few years in poverty, earning a living by playing the piano in cafes while travelling across Europe. His fortunes appeared to have changed when he was introduced to the publisher Giulio Ricordi, but after several abortive projects Leoncavallo lost patience and over the next five months wrote the poem and music of his opera I Pagliacci.

In 1892 he took the score to a rival publisher who immediately arranged a performance in Milan. The opera, based on the experiences of Leoncavallo's father as a judge, makes good use of a plot in which a middle-aged actor murders his young and unfaithful wife. The work was a resounding success, mainly due to the coupling of a melodramatic plot with intensely passionate music: moments of great excitement follow in quick succession, forging a powerful and colourful impression.

In 1893 both Leoncavallo and Puccini independently began setting the text of the popular novel La Boheme, but Leoncavallo's version reached the stage a year after Puccini's and was unable to compete with his rival's already highly popular work. After this he turned to a French subject for his next opera, Zaza. This picturesque work is unashamedly sentimental. The emotional and lyrical music requires a skilled soprano with a forceful stage presence if it is to succeed. Although Zаzа was enthusiastically received at its first performance in 1900, it failed to surpass Pagliacci, which remains his most popular opera.

At this time the gramophone record was coming into use and Leoncavallo was one of the first composers to grasp the opportunities it offered. In 1904 he recorded his best-known song, Mattinata, and three years later became the first man to record an entire opera when he conducted Pagliacci in the studio. He spent his final years travelling widely to promote his music, and his last opera, Edipo Re, was performed posthumously in Chicago in 1920, the year after its composer's death.

Although Leoncavallo never achieved the universal recognition he felt should be his, he was an accomplished musician and his best work has a dramatic appeal that has guaranteed continuing popularity.



Drew Slatton
Recitar! Vesti la Giubba
Pagliacci - 1892
Pagliacci  clowns) 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 staged.

Pagliacci premiered at the Teatro Dal Verme in Milan on 21 May 1892, conducted by Arturo Toscanini, with Adelina Stehle as Nedda, Fiorello Giraud as Canio, Victor Maurel as Tonio, and Mario Ancona as Silvio. Nellie Melba played Nedda in London in 1892, soon after its Italian premiere, and was given in New York on 15 June 1893, with Agostino Montegriffo, as Canio.

Composition history

Around 1890, when Pietro Mascagni's Cavalleria rusticana premiered, Leoncavallo was a little-known composer. After seeing Mascagni's success, he decided to write an opera in response: one act composed in the verismo style. Leoncavallo claimed that he based the story of Pagliacci on an incident from his childhood: a murder in 1865, the victim of which was a Leoncavallo family servant, Gaetano Scavello. The murderer was Gaetano D'Alessandro, with his brother Luigi an accomplice to the crime. The incident resulted from a series of perceived romantic entanglements involving Scavello, Luigi D'Alessandro, and a village girl with whom both men were infatuated. Leoncavallo's father, a judge, was the presiding magistrate over the criminal investigation.

Upon learning of the plot of Leoncavallo's libretto in an 1894 French translation, the French author Catulle Mendès thought it resembled his 1887 play La Femme de Tabarin, such as the play-within-the-play and the clown murdering his wife. Mendès sued Leoncavallo for plagiarism. The composer pleaded ignorance of Mendès' play. Later there were counter-accusations that Mendès' play resembled that of Don Manuel Tamayo y Baus' Un Drama Nuevo (1867). Mendès dropped his lawsuit. However, the scholar Matteo Sansone has suggested that, as Leoncavallo was a notable student of French culture, and lived in Paris from 1882 to 1888, he had ample opportunity to be exposed to new French art and musical works. These would potentially have included Mendès' play, another version of La femme de Tabarin by Paul Ferrier, and Tabarin, an opera composed by Émile Pessard that was based on Ferrier's play. Sansone has elaborated on the many parallels among the Mendès, Ferrier, and Pessard versions of the Tabarin story and Pagliacci, noting that Leoncavallo deliberately minimised any sort of connection between his opera and those earlier French works.

Leoncavallo originally titled his story Il pagliaccio (The Clown). The baritone Victor Maurel, who was cast as the first Tonio, requested that Leoncavallo change the title from the singular Il pagliaccio to the plural Pagliacci, to broaden dramatic interest from Canio alone to include Tonio (his own role).

Performance history
Pagliacci received mixed critical reviews upon its world premiere, but was instantly successful with the public and has remained so ever since. The UK premiere of Pagliacci took place at the Royal Opera House, Covent Garden in London on 19 May 1893. The US premiere followed a month later at Grand Opera House in New York on 15 June, with American born tenor, Agostino Montegriffo, as Canio. The Metropolitan Opera first staged the work on 11 December as a double-bill with Orfeo ed Euridice, "Nedda" being sung by Nellie Melba.

The Met produced again staged Pagliacci as a double-bill, this time with Cavalleria rusticana on 22 December 1893. The two operas have since been frequently performed as a double-bill, a pairing referred to in the operatic world colloquially as "Cav and Pag". Pagliacci was produced alone in Washington National Opera's November 1997 production by Franco Zeffirelli.

Cover of the first edition Reduction
for piano & voice of Pagliacci published
by E. Sonzogno, Milan, 1892


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


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.[notes 3] 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 (the famous Vesti la giubba – "Put on the costume").

Enrico Caruso as Canio in Pagliacci,
one of his signature roles


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 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 enters, he hears Nedda 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 the crowd realizes they are not acting. 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!"

From Wikipedia, the free encyclopedia

Pagliacci Full movie. Domingo - Stratas - Pons, Zeffirelli
Pagliacci, by Leoncavallo. Full movie. Canio: Placido Domingo. Nedda: Teresa Stratas. Tonio: Juan Pons. Peppe: Florindo Andreolli. Orchestra e Coro del Teatro Alla Scala. Conductor: Georges Pretre. Directed by: Franco Zeffirelli.
Pagliacci (Roberto Alagna, Inva Mula, Seng Hyoun Ko; Georges Prêtre, 2009)
Interpreted by Orchestra del Teatro alla Scala di Milano, Tullio Serafin, Tito Gobbi, Coro del Teatro alla Scala di Milano, Vittore Veneziani, Giuseppe Di Stefano, Nicola Monti, Maria Callas, Rolando Panerai
1. Pagliacci: Prologo Si può? Si può? 00:00
2. Pagliacci, Act I, Scene 1: Son qua! 7:46
3. Pagliacci, Act I, Scene 1: Un grande spettacolo a ventitré ore 10:58
4. Pagliacci, Act I, Scene 1: Un tal gioco, credetemi, è meglio non giocarlo 13:44
5. Pagliacci, Act I, Scene 1: I zampognari!...Din, don. Suona vespero 16:31
6. Pagliacci, Act I, Scene 2: Qual fiamma avea nel guardo..Hui! Stridono lassù 20:28
7. Pagliacci, Act I, Scene 2: Sei là! Credea che te ne fossi andato 25:06
8. Pagliacci, Act I, Scene 2: So ben che lo scemo contorto son io 25:59
9. Pagliacci, Act I, Scene 2: Nedda!...Silvio! A quest'ora che imprudenza 30:04
10. Pagliacci, Act I, Scene 2: E fra quest'ansie in eterno vivrai 31:28
11. Pagliacci, Act I, Scene 2: Non mi tentar! 34:05
12. Pagliacci, Act I, Scene 2: E allor perché, di', tu m'hai stregato 35:28
13. Pagliacci, Act I, Scene 2: Derisione e scherno! 40:49
14. Pagliacci, Act I, Scene 2: Recitar! Mentre preso dal delirio 43:44
15.Pagliacci, Act I, Scene 2: Vesti la giubba 44:30
16. Pagliacci, Act I, Scene 2: Intermezzo 47:09
17. Pagliacci, Act II: Presto, affrettiamoci 50:21
18. Pagliacci, Act II: Pagliaccio, mio marito 54:28
19. Pagliacci, Act II: Ah! Colombina, il tenero 56:19
20. Pagliacci, Act II: Di fare il segno convenuto 57:58
21. Pagliacci, Act II: Arlecchin!...Colombina! 1:02:12
22. Pagliacci, Act II: Coraggio! Un uomo era con te 1:04:40
23. Pagliacci, Act II: No, Pagliaccio non son 1:06:39
24. Pagliacci, Act II: Suvvia, così terribile 1:09:49
Pagliacci (Roberto Alagna, Svetla Vassileva; Arena di Verona, Vjekoslav Šutej, 02.2006)
Leoncavallo - Pagliacci - Herbert Von Karajan
Pagliacci, Ópera em um ato de Ruggero Leoncavallo.
Canio: Jon Vickers
Nedda: Raina Kabaivanska
Tonio: Peter Glossop
Peppe: Sergio Lorenzi
Silvio: Rolando Panerai
Orquestra e Coro Del Teatro Alla Scala: Regente Herbert Von Karajan
Leoncavallo - Pagliacci - del Monaco, Protti, Tucci - Giuseppe Morelli (1961)
Ruggero Leoncavallo - Pagliacci - Vesti La Giubba - Pavarotti
Ruggero Leoncavallo was an Italian opera composer. His two-act work Pagliacci remains one of the most popular works in the repertory, appearing as number 20 on the Operabase list of the most-performed operas worldwide.

"Vesti la giubba" (Put on the costume) is a famous tenor aria from Ruggero Leoncavallo's 1892 opera Pagliacci. "Vesti la giubba" is the conclusion of the first act, when Canio discovers his wife's infidelity, but must nevertheless prepare for his performance as Pagliaccio the clown because "the show must go on".

The aria is often regarded as one of the most moving in the operatic repertoire of the time. The pain of Canio is portrayed in the aria and exemplifies the entire notion of the "tragic clown": smiling on the outside but crying on the inside. This is still displayed today, as the clown motif often features the painted-on tear running down the cheek of the performer.

English translation

Act! While in delirium,
I no longer know what I say,
or what I do!
And yet it's necessary... make an effort!
Bah! Are you not a man?
You are a clown!

Put on your costume,
powder your face.
the people pay to be here, and they want to laugh.
And if Harlequin shall steal your Columbina,
laugh, clown, so the crowd will cheer!
Turn your distress and tears into jest,
your pain and sobbing into a funny face -- Ah!

Laugh, clown,
at your broken love!
Laugh at the grief that poisons your heart!

Placido Domingo - Recitar...Vesti La Giubba
Placido Domingo sings "Recitar...Vesti La Giubba" from (Pagliacci 1892) by Rugierro Leoncavallo. (Concert in Los Angeles 1994)
Placido Domingo is a Spanish tenor from Madrid.
"Recitar...Vesti La Giubba" is Canio's aria from first act.
Mario del Monaco "Vesti la giubba" Bolshoi 1959
Mario Lanza Vesti La Giubba 1958 Widescreen
La bohème - 1897
La bohème is an Italian opera in four acts, with music and libretto by Ruggero Leoncavallo, based on Scènes de la vie de bohème by Henri Murger. The opera received a successful premiere at the Teatro la Fenice, Venice on 6 May 1897.

Leoncavallo wrote his opera La bohème contemporaneously with Giacomo Puccini's own treatment of the same story. Leoncavallo later revised the work, titling it Mimi Pinson, but despite initial respect, it did not survive. Puccini's version has become a standard in the operatic repertoire, whereas Leoncavallo's opera is rarely performed. Leoncavallo's version did not receive its UK premiere until May 1970.

Allan Atlas has analysed in detail the different treatments of the death of the Mimi character in both Leoncavallo's and Puccini's versions of La bohème, contrasting the historical success of Puccini's opera and the relative failure of Leoncavallo's.


A scene from La Bohème at the Théâtre de la Renaissance in Paris on 10 October 1899
Place: Paris.
Time: one year from Christmas, 1837 to Christmas, 1838.

Act 1

Café Momus

The innkeeper Gaudenzio tries in vain to eject the Bohemians, who never pay and are continually up to no good. During the conversation another piece of horseplay on their part is discovered. They sit down to dine, while Musetta gaily sings. (Canzonette: "Mimi is the name of my sweet blonde.") Naturally when they are asked to pay the bill, they have no money. A comic fight ensues between them and the innkeeper, who has called his servants to assist him. It is ended by Barbemuche, who offers to pay the bill.

Act 2
The courtyard of Musetta's house

Musetta's lover has left her, refusing any longer to pay her debts. In consequence, her furniture has been confiscated and is carried down to the courtyard. When this has been done, she returns home. She expects guests but cannot entertain them in any other way than by receiving them in the courtyard. Here the Bohemians, who arrive in large numbers, celebrate joyously. The neighbours, awakened from sleep, protest in vain and the scene ends in a general fight between the two factions.

Act 3
Marcello's garret room

Musetta, who can no longer bear the sufferings of hunger and want, determines to leave Marcello. During the festivities in the courtyard, Mimi has allowed herself to be carried off by Count Paul, but she returns, motivated by love for Rodolfo. Musetta begs her to go with her, but she refuses. Angrily, Marcello and Rodolfo force both women to leave the apartment.

Act 4
Rodolfo's garret room

Mimi returns to Rodolfo, at the brink of death. Musetta, who accidentally meets her there, sacrifices her jewels to procure fuel to warm the room for Mimi. As the Christmas chimes are heard, Mimi dies.

From Wikipedia, the free encyclopedia

R. Leoncavallo - LA BOHEME - Venezia 1990 (Malagnini - Mazzaria - Senn - Summers)
LA BOHEME - libretto e musica di Ruggero Leoncavallo
opera in 4 atti (da H. Murger)
(I rappresentazione: Venezia, Fenice, 6 maggio 1897)
live recording, Venezia, Gran Teatro La Fenice 23 gennaio 1990

Mercello, MARIO MALAGNINI - tenore
Mimì, LUCIA MAZZARIA - soprano
Marcello, JONATHAN SUMMERS - baritono
Schounard, BRUNO PRATICO' - basso
Musette, MARTHA SENN - mezzosoprano
Eufemia, CINZIA DE MOLA - soprano
Barbemouche, SILVANO PAGLIUCA - basso
Visconte / Colline, PIERO SPAGNOLI - basso
Gaudenzio / Durand, ROMANO EMILI - tenore

Orch. e Coro del T. La Fenice - direttore JAN LATHAM KOENIG

Ruggero Leoncavallo - La Bohème
aria di Musetta: Marcello mio
mezzosoprano: Veronica Filippi
al pianoforte: M°Giacomo Dalla Libera
Mario del Monaco sings "Testa adorata"
Jonas Kaufmann- Testa Adorata - La Bohème- Ruggero Leoncavallo
Ruggiero Leoncavallo - La Boheme - Mimì Pinson la biondinetta - Bianca Maria Casoni
R.Leoncavallo, "La Boheme", commedia lirica in quattro atti su libretto dello stesso compositore.
Marcello (Angelo Lo Forese)
Musette (Bianca Maria Casoni)
Rodolfo (Guido Mazzini)
Mimì (Florida Alessandri Norelli)
Schaunard (Fernando Lidonni)
Barbemousche (Giorgio Tadeo)

Orchestra sinfonica e coro di Milano della Rai.
Maestro concertatore e direttore d'orchestra: Pietro Argento.

Registrazione del 25/10/1963

Enrico Caruso sings an aria from La bohème (by Ruggero Leoncavallo)
Leoncavallo - EDIPO RE - Lormi, Vaina, Vertecchi, Mazzieri, Durante - Rai Roma, 1972
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