The events of the opera take place in Calabria, near Montalto, on the day of the Ferragosto festival (the Feast of the Dormition of the Mother of God). Within the tradition of the Italian commedia dell’arte, the performance begins with an address to the audience. One of the members of the troupe speaks directly to the audience and briefly outlines the plot of the opera, drawing back not only the stage curtain, but also the curtain that veils the human soul.
Prologue Tonio steps forward onto the avant-scène. He emphasises that what lies before the audience is neither fiction nor a light-hearted comedy, but a reflection of real life with all its pain, passions, jealousy and love. The Prologue establishes the work’s central idea from the very beginning, immediately erasing the boundary between theatrical performance and reality. What is about to unfold is not acting, but truth laid bare to its very core.
Act One A troupe of travelling actors led by Canio, both an actor and their manager, arrives in a small provincial town in southern Italy. At his side are his young wife, Nedda, the quick-witted clown Peppe, and the gloomy Tonio. They invite the townspeople to attend that evening’s performance, promising light-hearted entertainment. Beneath the outward appearance of theatrical cheerfulness, however, dramatic tension is already building up – a tragedy is about to unfold. Tonio declares his love for Nedda, but the beautiful young woman scornfully rejects his feelings and even mocks him. Humiliated and offended, Tonio decides to take revenge. Afterwards, Tonio witnesses a secret meeting between Nedda and a young villager, Silvio, whom she truly loves. The lovers are dreaming of running away and having a future together. Seeing the opportunity, Tonio informs Canio of the betrayal and leads him to the meeting place just as Nedda and Silvio are arranging their escape. Overcome with despair and jealousy, Canio demands that his wife reveal the name of her lover, but Nedda remains silent. Despite the personal drama, the performance must take place. The actors prepare to take the stage. Tonio is convinced that the truth will emerge during the evening, since Nedda’s lover will undoubtedly be among the audience and, sooner or later, reveal himself. Meanwhile, the time of the performance approaches. Distraught and emptied, Canio has to appear before the public and play his part in the comedy, concealing his genuine anguish behind a mask of laughter.
Act Two The comedy, a story about an unfaithful wife, begins. Nedda plays the flirtatious heroine Colombina. Canio tries to entertain the audience, but genuine human suffering breaks through the clown’s antics. His words sound less and less like those of Pagliaccio: Canio is no longer speaking as a character, but as a betrayed and humiliated husband demanding the truth beyond the script. Nedda is trying to save the performance, yet real emotions ultimately shatter the illusion of the theatrical spectacle. Before the audience’s eyes, theatre and life definitively merge into a single drama. At the decisive moment, Silvio appears. The tragedy reaches its climax. Consumed by blind jealousy, Canio kills first his wife, Nedda and then her lover. The tragic finale is summed up by the scary words: “La commedia è finita!” (“The comedy is over!”).
Opera in two acts, performed with one intermission. Libretto by R. Leoncavallo. Performed in Italian with Ukrainian subtitles.