SEATTLE — Antonello Palombi is an Italian tenor with a big, glistening voice and a dramatic stage presence. As the opera world looks for the next generation of great Italian dramatic tenors, his is a name to consider. Judging by the roar of approval from the audience Saturday night at Seattle Opera, this exciting performer is a worthy contender.
Palombi wowed the McCaw Hall audience in the opening-night performance of “Pagliacci,” the passionate Italian opera about a wounded clown named Canio who laughs to hide his broken heart, only to become unhinged by jealous rage.
Alone on a darkened stage, bathed in a pool of light, Palombi poured his heart and glorious voice into one of the greatest tenor arias in all opera, “Vesti la giubba” (“Put on the costume”). Palombi’s no-holds-barred performance and singing as the tragic clown was an emotional peak in an opera full of drama, and an iconic moment in opera.
This cohesive production is forcefully staged and beautifully performed by a first-rate cast. An opera so well known it’s even been the subject of parody on “The Simpsons,” “Pagliacci” is a great story and great entertainment, full of lust, revenge and treachery.
A staple since its 1892 premiere, “Pagliacci,” because of its brevity, is frequently paired with another short opera. Seattle chose to let the work stand on its own, presenting it in two acts with prologue and opening the second act with an 11-minute acrobatic sequence that’s exciting to see while serving as a dramatic device, a dream sequence that recounts the life of its two main characters, Canio, a husband driven mad by jealousy, and Nedda, a faithless wife who will have what she wants, another man.
“Pagliacci,” structured as a play within a play, begins in prologue as two mimes, Tragedy and Comedy, open a trunk and out pops the clown Tonio, who reminds the audience that although they are seeing a play, actors, even clowns, have their problems.
The actors in a traveling commedia dell’arte troupe arrive in an Italian village. We know this 19th century opera is set in the mid-20th century by the style of costumes and the vintage Fiat that transports the performers. The cheering villagers are invited to return at nightfall and see the show, a familiar comedy about Pagliacci (played by Canio), who is betrayed by a faithless wife, Columbine (played by Nedda).
The play begins, but art quickly spills over into real life when Canio learns that Nedda plans to leave him for her lover, a hunky villager named Silvio. Pagliacci confronts Nedda and demands to know her lover’s name. She refuses and Pagliacci snaps, stabbing first her and then her lover. The villagers look on it horror. The comedy is over.
It’s a dark end to a drama that begins in the square of a sunny Italian village. The costumes, by Cynthia Savage, range from the ’50s street garb of the villagers to the candy box-colored costumes of the dazzling harlequins and clowns, acrobats and mimes.
Stage director Bernard Uzan connects all the dots in his clean staging that’s full of visceral punch. He moves his players like a choreographer, and the final scene is shockingly real.
Nuccia Focile brought her lovely soprano voice and convincing acting skills to the role of Nedda. The Italian soprano has demonstrated her versatility as an actress and silvery voice in a range of roles for Seattle Opera. Her first-act love duet with Silvio (the burnished baritone Morgan Smith) is a high point.
Gordon Smith used his handsome baritone to great effect in the role of Tonio, the clown who betrays Nedda, singing with force and beauty. The reliable tenor Doug Jones, as the agile clown Beppe, demonstrated once again why he has been a mainstay of Seattle Opera productions.
Dean Williams brought a masterful touch to Leoncavallo’s luscious music, and it was good to see him back in the orchestra pit on Saturday night. The production continues through Jan. 26, with an alternate cast singing the three principal roles on Sunday and Jan. 25.
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