Verdi’s Rigoletto is set in the Italian city of Mantua which you may recall Romeo was banished to after killing Tybalt. There is clearly something in the water in that part of Italy because it is so often portrayed as a region full of overly-passionate men who insist on lying, cheating, and occasionally committing murder. Most significantly it is also a place where these men think up complicated ways of seducing as many women as they possibly can.
Rigoletto the man is a hunchback who has overcome poverty to become a jester to the lecherous Duke of Mantua. As such he has quite considerable power and has created many enemies by mocking and insulting the city elite in the name of ‘fun’.
What no one knows is Rigoletto has a daughter called Gilda whom he protects by keeping her a virtual prisoner at home to protect her innocence. To modern sensibilities this might seem, how shall i put this, ‘concerning’, but this is Mantua after all and its leader is predator so maybe it’s the right thing to do.
Rigoletto is oblivious to the fact that the Duke is already courting Gilda because her nurse Giovanna is easily bribed. To add further to the jester’s lot, the rest of the court want revenge on him for, well, doing the job he’s being paid to do by telling jokes at their expense.
They intend to kidnap Gilda who they think is Rigoletto’s mistress and they succeed by duping him into supporting their mission by claiming the house belongs to Count Ceprano and they are going to capture his wife. They get away with it because for some reason Rigoletto agrees to be blindfolded and in this way doesn’t recognise where he is.
You may be thinking ‘hang on, doesn’t he hate these men and they hate him?’
Yes, that’s right, but he still puts on a blindfold and helps because of course the abduction of someone else’s wife is amusing and the jester loves a good prank.
Ultimately the joke is a cruel one that backfires spectacularly. Discovering the truth and hell-bent on revenge Rigoletto hires an assassin to kill the Duke. But it is his own daughter who pays the ultimate price for the sins of this wicked city.
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So what of this incarnation of Verdi’s tragic tale?
The character of Rigoletto is the solid heart of this story and as such needs a strong leading man to portray him. NZ Opera chose well casting James Clayton in the role with his magnificent stage presence and superb, powerful singing voice. He evinced a layered complexity to Rigoletto that illuminated the man’s darker and lighter aspects. This ‘jester’ and ‘buffoon’ mocks and belittles, schemes and curses, yet behind the facade is a tender, compassionate man who loves his daughter. The two most grief filled moments in the entire opera belong to Rigoletto and Clayton ensured they were incredibly moving.
Interestingly, it is the Duke of Mantua (Amitai Pati) who actually steals the show in a way as he sings La donna è mobile, which is one of the most instantly recognisable, beautiful, and yes, amusingly misogynistic arias in the operatic world. It a song taken on by the likes of the great Pavarotti and Pati did it justice with his delightful rendition.
Indeed, the entire cast in this production were flawless and strong – Elena Perroni as Gilda was very convincing as an innocent young woman who experiences her first taste of love. Sian Sharp competently portrayed two women – the grasping Giovanna and the seductive accomplice to murder, Maddalena. Jud Arthur as the dangerous Sparafucile was memorable as a brooding and menacing figure.
I’d like to make special mention of the design elements in this production. It is vital when viewing this type of story that we be swept up not only with the drama and music, but also with its place in the world. Rigoletto is based in a realm of privilege yet dips down into society’s less salubrious aspects and locations.
The impeccably stylish wardrobe; expertly nuanced lighting; and Michael Yeargan’s stunningly sumptuous sets created a beguiling and exquisite foundation for the entire opera. The Auckland Philharmonia under the expert guidance of James Judd brought to life Verdi’s wonderful score
In all, Rigoletto is a heady mix of fickle attachments, deep passions and intense drama woven into a consummate piece of operatic theatre.
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Photo credit – Jinki Cambronero
RIGOLETTO
19, 21, 25 September, 2024 – Kiri Te Kanawa Theatre, AUCKLAND
Watch my interview with singer Alfred Fonoti-Fuimaono
