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
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
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
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
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
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
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.
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
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
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
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.
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.
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
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).
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
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.
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
As the crowd arrives, Nedda, costumed as Colombina, collects their
money. She whispers a warning to Silvio, and the crowd cheers as the
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!"
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,
RUGGERO LEONCAVALLO - PAGLIACCI
LEONCAVALLO: PAGLIACCI OPERA
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
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
4. Pagliacci, Act I, Scene 1: Un tal gioco, credetemi, è meglio non
5. Pagliacci, Act I, Scene 1: I zampognari!...Din, don. Suona
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
8. Pagliacci, Act I, Scene 2: So ben che lo scemo contorto son io
9. Pagliacci, Act I, Scene 2: Nedda!...Silvio! A quest'ora che
10. Pagliacci, Act I, Scene 2: E fra quest'ansie in eterno vivrai
11. Pagliacci, Act I, Scene 2: Non mi tentar! 34:05
12. Pagliacci, Act I, Scene 2: E allor perché, di', tu m'hai
13. Pagliacci, Act I, Scene 2: Derisione e scherno! 40:49
14. Pagliacci, Act I, Scene 2: Recitar! Mentre preso dal delirio
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
"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.
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!
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
A scene from La Bohème at the Théâtre de la
Renaissance in Paris on 10 October 1899
Time: one year from Christmas, 1837 to Christmas,
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 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.
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
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,
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
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
Signore / Becero, GIOVANNI GRAZIOLI
Orch. e Coro del T. La Fenice - direttore JAN
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
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
Leoncavallo - EDIPO RE - Lormi, Vaina, Vertecchi, Mazzieri, Durante
- Rai Roma, 1972