Performed for the first time at Teatro Dal Verme in Milan on 21 May 1892, Pagliacci is a manifesto of the Giovane Scuola. However, the grim story narrated by Leoncavallo develops through a musical dramaturgy with characters that were remarkably innovative for that period, so much so that they can be considered an anticipation of aspects that will be found in a reworked form in early twentieth century theatre. The fall of the so-called ‘fourth wall’ – with the appearance outside the curtain of the Prologue, which disqualifies the theatrical conception of the author –, the tragic reality that bursts onto the scene of the comedy, when Canio’s jealousy results in the double murder of Nedda and her lover, are all precursors of Pirandello’s ‘metateatro’ or theatre within theatre. In the same way, the crime of passion, physical deformity as a sign of inner perversion, and the squalid life of comedians are all themes that are present in this single act, all of which will be found in various authors of early twentieth century Expressionism: from Berg to Hindemith, and the pair Brecht and Weill. As for the Commedia dell ‘Arte stock characters evoked by Leoncavallo’s tale, they in particular will go on to be a source of inspiration for composers such as Malipiero, Strauss, Busoni, and Casella. All of this shows that, his immediate melodic appeal aside (a mention of ‘Vesti la giubba’ suffices, which is so popular with the general public), the masterpiece of the Neapolitan composer deserves a more careful evaluation.