German by LUDWIG HARTMANN.

In the summer of the year 1892 a rumour was going through the musical
world, that Mascagni had found his equal, nay his superior in the
person of another young Italian composer. When the "Pagliacci" by
Leoncavallo was executed in Italy, it excited a transport of enthusiasm
almost surpassing that of "Cavalleria", so that Berlin and Leipsic
brought the opera on the stage as quickly as possible, and Dresden
followed their example on January 22nd 1893, with the same great
success.

The opera is indeed eminently qualified to produce an impression.
Though less condensed in its tragic depths than Cavalleria, the music
is nobler without being less realistic. In Leoncavallo the feeling of
artistic form is more developed. Though of southern temper he never
lets passion get the better of the beautiful and true harmony, also he
is Mascagni's senior by four years.

Leoncavallo's excellent musical education is as unmistakable as the
influence of Wagner's music on his genius.--He, too, introduces the
"Leading Motives", but he is far from imitating his great predecessor.
Like Wagner he did his text himself, and it must be owned, that it is
very good. The idea was suggested to him by an event, which {255} he
witnessed at Montalto in Calabria during the summer 1865, and which
impressed him deeply.

In the Prologue, a wonderful piece of music, Tonio the Fool announces
to the public the deep tragic sense which often is hidden behind a
farce, and prepares them for the sad end of the lovers in this comedy.

The introduction with its wonderful Largo is like a mournful
lamentation; then the curtain opens, showing the entry of a troop of
wandering actors, so common in southern Italy. They are received with
high glee by the peasants, and Canio, the owner of the troop, invites
them all to the evening's play. Canio looks somewhat gloomy, and he
very much resents the taunts of the peasants, who court his beautiful
wife Nedda, and make remarks about the Fool's attentions to her.
Nevertheless Canio gives way to his friends' invitation for a glass of
Chianti wine, and he takes leave of his wife with a kiss, which however
does not quite restore her peace of mind, Nedda's conscience being
somewhat disturbed. But soon she casts aside all evil forebodings and
vies with the birds in warbling pretty songs, which, though reminding
the hearer of Wagner's Siegfried are of surpassing harmony and
sweetness. Tonio the