CHICAGO—Giuseppe Verdi believed that the best operas had a sense of heightened drama, and his “Rigoletto” is arguably the most dramatic of all his works. Although Francesco Maria Piave is given credit for the libretto, Verdi had a very big part in writing it.
“Rigoletto” was based on Victor Hugo’s provocative 1832 play, “Le roi s’amuse,” which the French government thought scandalous and shut down after its first production. Similarly, the Italian censors almost prevented the production of Verdi’s opera due to its portrayal of a womanizing king.
Verdi’s original title was “La maledizione,” which translates to “The Curse.” Fortunately, he made enough changes to the opera—he retitled it “Rigoletto”—that the censors finally relented and allowed it to premiere in 1851 at La Fenice Opera in Venice.
A 19th-Century Thriller
Set in 16th-century Mantua, Italy, the opera revolves around the widower and hunchbacked court jester Rigoletto, whose daughter Gilda is of the most importance in his life. He’s so protective of her that he keeps her shut up in their house.Rigoletto’s job is to make the Duke of Mantua and his court laugh, which he does by insulting and making fun of everybody. But that doesn’t make him popular with members of the king’s court. One of them responds with a horrible curse.
Dazzling Effects
Elegantly directed by Mary Birnbaum, this is one of the most mesmerizing productions of “Rigoletto” that the Lyric has mounted. Robert Innes Hopkins’ set design provides a spectacular backdrop. There, the action progresses from Rigoletto and Gilda’s home to the palace of the Duke. The erotic murals on the walls of the palace and the Duke’s bedroom are emblematic of the Duke’s licentiousness.
In addition, Jane Greenwood’s lavish silk and velvet period costumes provide a sense of luxurious royalty, and Duane Schuler’s stark lighting suggests a whodunit intensity.
While those glamorous effects provide a dazzling environment, the highlight of the opera is the bevy of talented singers, many of whom are making their Lyric Opera debut. With a rich baritone and a terrific vocal range, Igor Golovatenko makes for a powerful Rigoletto. He almost stops the show with an intoxicating rendition of one of the greatest arias of all time, “La donna é mobile.”
As the Duke of Mantua, Javier Camarena delivers a silky smooth tenor with his aria “Questa e quella” (“they’re all the same”). This is in reference to the young women he seduces. He’s compelling as the spoiled, entitled royal who believes nothing is forbidden to him.
Mané Galoyan shines with a golden soprano as Gilda, making for a stunning duet with Golovatenko, and she especially stands out with a delicious version of “Caro nomé.”
Others who contribute to the triumph of this production include bass Soloman Howard as the dangerous assassin, Sparafucile; baritone Andrew Manea as Monterone, who kicks off the plot when he curses Rigoletto; Adia Evans as Countess Ceprano; and Maire Therese Carmack as Giovanna.
In addition, and crucial to the success of this “Rigoletto,” is music director and conductor Enrique Mazzola, who’s rightly considered one of the best Verdi interpreters. He does an exceptional job with Verdi’s lush musical score. Furthermore, chorus director Michael Black enhances the production with a superb choral ensemble.
There’s much to be said for those who believe that “Rigoletto” is Verdi’s masterpiece. Indeed, this “Rigoletto” is as enthralling as opera gets. Not to be missed!
