Pagliacci was performed in Milan in 1892 with immediate success; today it is the only work by Leoncavallo in the standard operatic repertory. Its most famous aria Vesti la giubba ("Put on the trappings" or, in the better-known older translation, "On with the motley") was recorded by Enrico Caruso and laid claim to being the world's first record to sell a million copies (although this is probably a total of Caruso's various versions made in 1902, 1904 and 1907)
The next year his I Medici was also produced in Milan, but neither it nor Chatterton (1896)—both early works—obtained much lasting favour. Much of Chatterton however was recorded by the Gramophone Company (later HMV) as early as 1908.
It was not until La bohème was performed in 1897 in Venice that his talent obtained public confirmation. (Its two tenor arias are still occasionally performed, especially in Italy, yet it was outshone by Puccini's opera of the same name and on the same subject (albeit a better libretto), which was premiered in 1896.) Subsequent operas by Leoncavallo were Zazà (1900) (the opera of Geraldine Farrar's famous farewell performance at the Met, and Der Roland Von Berlin (1904). He had a brief success with Zingari which premiered in Italian in London in 1912. (Zingari had a long run at the Hippodrome Theatre). Zingari even reached the United States but soon after disappeared from the repertoire.
After a series of operettas (whose titles, below, perhaps suggest much of their depth), Leoncavallo tried for one last 'serious' effort (Edipo Re), but he died before he could finish the orchestration which was completed by Giovanni Pennacchio. From the 1970's the opera has had a surprisingly high number of revivals, both as concert performances (Including Rome 1972, Amsterdam 1977 and Vienna 1998) as well as a fully staged production in Turin in 2002. In Edipo Re (a short one act work) the composer uses exactly the same melody for the final scene Miei poveri fior, per voi non più sole...(with the blinded Edipo) as he had for the Act IV Soprano aria from Der Roland von Berlin. It has been assumed (see The New Grove Dictionary of Opera) that Leoncavallo left the opera more or less complete (except for the orchestration), but Pennacchio may have had to do more and may have 'filled in the gaps' using Leoncavallo's earlier music.
Little or nothing from Leoncavallo's 'other' operas is heard today, but the baritone arias from Zazà were great concert and recording favourites among baritones and Zazà as a whole is sometimes revived, as is his La bohème. The tenor arias from La bohème remain recording favourites.
Leoncavallo also composed songs, most famously Mattinata, which he wrote for the Gramophone Company (which became HMV) with Caruso in mind. In April 1904 Leoncavallo accompanied the tenor at the piano as the tenor sang and recorded the song.
He was the librettist for most of his own operas. Many considered him the greatest Italian librettist of his time after Boito. Among Leoncavallo's libretti for other composers is his contribution to the libretto for Puccini's Manon Lescaut.
Ruggero Leoncavallo died in Montecatini, Tuscany, on 19 August 1919.
Further Reading