Tag Archives: Canio

Pagliacci: Iconic Productions Day 10

“The first time I did Pagliacci, at the Royal Opera House in London, I did it as it had normally been done, turn-of-the-century. Also, at the Met, I did it that way. But then in the early ‘80s, I brought it much closer to us. I set it in the same environment, Southern Italy, but in the early 1940s. That’s the version that Plácido [Domingo] and Teresa Stratas did around the world and also on video and laser disc. But then I thought, why stop in the middle of the road? Let’s do it today.” – Director Franco Zeffirelli on staging his Pagliacci in the present day (then 1996)

Pagliacci, 1996-1997

Plácido Domingo as Canio in Pagliacci (1996); Photo Credit: Ken Howard

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Music Monday: Pagliacci Prologue


George Gagnidze singing in The Metropolitan Opera Spring Highlights Concert

Pagliacci opens not with a love triangle scene between Canio, Nedda, and Silvio, but instead with a clown. This is Tonio, the fool of Canio’s troupe. He emerges and addresses the audience directly—“Si puo, si puo,” asking for indulgence.

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Supertitles Linda

Linda Zoolalian playing piano (which she also teaches along with voice).

Linda Zoolalian playing piano (which she also teaches along with voice).

Watching opera often also means reading supertitles – translations of opera text projected on a screen high enough for the whole audience to see. It’s a debated subject. Are supertitles needed or antiquated? While you’ll enjoy the opera whether you speak the language being sung or not, supertitles help you follow along.

Linda Zoolalian knows this well. A fan of opera since she saw a production of La Bohème as a teenager, Zoolalian runs supertitles for LA Opera (a position she has held since 2003). Working supertitles has strengthened her belief that the marriage between voice and text is vital to effect emotion in audience members.

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