Pagliacci
Royal Opera House, 20th JulyApparently
The Times's music critic proclaimed this production to be 'vulgar', thought the performance nondescript and gave it 2 out of 5 stars. I entirely disagree with that review.
Set in 1970's-80's Naples, in one of the grimy crowded streets, the stage was split into two levels, with a ramp leading between them. The costumes reflected that era, ranging from conservative floral print dresses on the matrons and dowdy girls, to more upbeat fashionable and street clothes for the up-to-date girls to outright trashy for a couple of hookers. The men's were similar, with a lot of slick suits, leather clad bikers, some sailors and a couple of policemen.
The staging was a spectacle; the big entrance of the troupe being accompanied by acrobats, stiltwalkers, a real live donkey, a fire-breather and clowns juggling flaming brands - all a big hit with the audience. Unfortunately I was well up to the right of the stage so during the second act completely missed seeing the Commedia dell' Arte performance on the stage constructed on the stage itself.
The chorus was good, if a bit fuzzy around the edges in a couple of places, but the leads were all excellent. It was wonderful to hear
Plácido Domingo in person for the first (and as he is giving up singing for conducting, probably only) time, and if Domingo's voice isn't as powerful as once it was (he is in his sixties!), he more than made up for it in technique, emotion and sheer beauty. His rendition of Canio's solo,
Vesti la giubba was, not unexpectedly, the show-stealer. His
Canio was charming clown and insensitive husband, heartbroken victim and enraged cuckold, all without losing integrity as the same person. In the end, although there is an inevitability to his actions, you cannot help seeing him as a human being, and not just as a stereotype such as the Commedia dell' Arte's
Pagliacci.
Which is not to say Gheorghiu and Hvorostovsky, both top stars themselves, were overshadowed. I've heard
Dmitri Hvorostovsky sing live before and am quite enamoured of both his voice and stage presence - although he isn't the sprightly young lover
The Guardian would have prefered, he has a seriousness and sensuality that portrayed the role of
Silvio quite believably.
Angela Gheorghiu was also wonderful - her voice is even more lovely live than it is on CD and her
Needa had a wild freedom and pathos to her that touched you - you
wanted her to leave Canio and be happy with Silvio. I would love to see her playing
Carmen.
In toto, an incredible experience, and one that sadly is unlikely to be repeated.