The Duke of Mantua boasts to a courtier, Borsa, about his most recent infatuation. A girl has enchanted the Duke, but ultimately it makes no difference to him whether he pursues one woman or another. Wishing to select one with whom to spend the evening, he surveys the court and settles upon the Countess Ceprano just as the court jester Rigoletto mocks her husband.
While there is still a dead soprano when the curtain falls, Rigoletto is not a three-hanky tragedy like Madame Butterfly, or a searing drama with hours concerning the foibles of the gods.
It is a parable about the high price of revenge, which can bounce back and cause more problems for the perpetrator than for the target. The Houston Grand Opera excels as they present a sturdy Rigoletto: This review is based on the performance viewed at the Sunday afternoon matinee on Jan.
Back then, a play that held royalty up to ridicule had troubles with censorship and Hugo's play was no exception. Although it is about King Francis I of Francea notorious skirt-chaser, the French censors of Hugo's day thought that is was a thinly veiled reference to King Louis-Phillipe In their defense, it was a difficult time for royalty, buffeted and beheaded as they were by the revolution.
Hugo's play was shut down the day after it opened. Verdi and Piave also ran into censors, in this case from the Austrians, who ruled over Northern Italy at the time. The solution they came up with was to change the King to a minor Duke.
Best yet, they made him the Duke of Mantua from the House of Gonzaga, which hadn't existed for quite a while. Goodbye King, hello Duke of Nowhere. Rigoletto premiered in March of at La Fenice. This is a legendary opera house in Venice that has seen an amazing number of premieres since it opened and, despite being burned to the ground and rebuilt a couple of times, is still presenting a season today.
The physical part of production works on many levels as it combines disparate elements. My review of the production when last seen in Dallas is here.
The production is a bit schizophrenic. It is as if the set from one production arrived with the costumes from another one mistakenly included.
The set, by Michael Yeargan, is a series of proscenium-sized nesting boxes that push inwards upstage. Hall, are full-out high Renaissance: Thankfully, we can see the costumes because Steven Strawbridge's lighting designs keep everything visible; often non-realistic sets are too dark.
He also eschews overly specular highlights. Perhaps the point of this production is presenting the action, made real by the costumes, but isolated from reality by the surreal sets. In this plausible scenario, it resembles a miniature marionette theater inhabited by singers from the movie Honey, I Shrunk the Kids.
Maybe I had it right back in my review when I described it this way: It was as if the actors were like chess pieces, transfixed until moved for a definite purpose and then left, unmoving, in their new position until needed.
In this incarnation of the production, it appears that all of the cast and chorus have an assigned spot to stand at every entrance and a movement to another assigned spot.Rigoletto (pronounced [riɡoˈletːto]) is an opera in three acts by Giuseppe plombier-nemours.com Italian libretto was written by Francesco Maria Piave based on the play Le roi s'amuse by Victor plombier-nemours.come serious initial problems with the Austrian censors who had control over northern Italian theatres at the time, the opera had a triumphant premiere at La Fenice in Venice on 11 March On May 12, , Los Angeles Opera presented a searing rendition of RIGOLETTO, Giuseppe Verdi's dark tale of curses and murder.
Recently, General Director Placido Domingo said of this work, "I can. T he Royal Opera has opted for a revival of David McVicar’s brooding production of Verdi’s Rigoletto for what is effectively its Christmas show: a big, double-cast run that lasts well.
T he Royal Opera has opted for a revival of David McVicar’s brooding production of Verdi’s Rigoletto for what is effectively its Christmas show: a big, double-cast run that lasts well.
Rigoletto is the first of Verdi’s middle period operas and marks a shift towards coherent musical tapestries as opposed to the typical Italian aria format (though Verdi by no means leaves the form behind).
Rigoletto and Sparafucile seem to live in some kind of shanty town, and even the Duke's "palace" is affected by post-nuclear decay and disrepair. The ripped chain-link fences and aluminum siding contradict the costumes, which are vaguely of the period Hugo and Verdi intended.