Rigoletto, Verdi's first great opera, neverdeviates from that familiar pattern characterizing Italian opera at its mostmelodious. Yet Rigoletto stands apartas an archetype of Verdi's format at itsmost dramatically intense. Although it includes Verdi's all-too-familiarintroductory oom-pah-pah beat followed by his customary pattern ofsolo-duet-quartet-chorus succession, Rigolettois far more subtlea finely chiseled work with barely a superfluous passage.Its tunefulness almost belies the tragic tale of a hunchbacked court jester whobears ridicule and abuse to protect the innocence of his secretly sequestereddaughter. Rigoletto'spristine economy only serves toheighten a warmer musical framework encompassing greater emotional depth thanhis previous work. First produced in 1851 (and based on a Victor Hugo novel),it became an instant success. The licentious Duke's signature tune, “La Donna eMobile,” was sung in the streets the day after the premiere.
The brief but ominousintroduction to Rigoletto tells us this is a work to be reckonedwith. A court scene introduces the Duke's famous aria, “Questa o Quella,”followed by the soon-to-be-executedMonterone laying a curse on the misshapen mocking jester, Rigoletto. That cursewill begin to haunt Rigoletto and sets the tone for the rest of the act thatconcludes with the opera's first great aria, “Pari siamo.”
The Duke, in disguise,has become infatuated with Rigoletto's hapless daughter, Gilda, who returns hisardor in the familiar coloratura aria, “Caro Nome.” The father-daughter duetsthat follow are musically simple andguileless, counter-pointing Rigoletto's few moments of tenderness with thegraphic musical intensity accompanying his later resolve to murder thelecherous Duke. With the kidnapping of Gilda and the conflicting contrasts inVerdi's riveting score, the act ends with Rigoletto's frantic cry
of “maledizione.”
EmotionallyEngulfing
Great operas are definedby great moments coming together in climactic configurations that guide thedrama to a final resolution designed to engulf the audience emotionally. Rigoletto'ssecond act introduces a desperate jester whose pitiful cries ofla-la-la fool no one as he searches for his daughter. Finally, the increasingmusical tension erupts into Rigoletto's magnificent aria denouncing the corruptcourtiers who have turned over his not unwilling daughter to the Duke. Arepentant though ravished Gilda wants no retribution. She still loves the Duke,but her father will have none of it, ignoring the malediction and hiring Sparafucile to kill the Duke.
The irony of theconclusion reiterates the conflicting subtleties of Verdi's characterizations,yet the score remains brisk and economic. The Duke is not evil and Gilda'spassions are more mature than suspected. She gives her life for her loverduring one of Verdi's most ominous trios in a stormy night scene with anuntypical eerie offstage humming chorus to underline the foreboding ofRigoletto's final undoing.
Rigoletto returns tolisten in surprised horror to the unwitting Duke's background refrain of “LaDonna e Mobile.” The jester'srevenge has come full circle, destroying the one he treasures most as hescreams “Maledizione!” for the last time in this magnificent score.
William Florescu,general director of the Florentine Opera, will direct Rigoletto at the Marcus Center for the Performing Arts, May 21-23.As a strong proponent of modern and unusual operas, Florescu promises arefreshing new take on this venerated classic, following the recent, energizingexperience of producing the vividly contemporary Elmer Gantry. Costumes and decor will be newly designed in anattractive traditional décor. Rigolettowillbe sung alternately by newcomers Luis Ledesma and Peter Castaldi, with GeorgiaJarman returning to the Florentine as Gilda. The performance promises to beoutstanding.
