MET Opera House building–Lincoln Center/Thursday November 10th, 2022.
Welcome back friends, and welcome this week, once again, unsurprisingly, to the wonderful world of opera!
Yay!
And this week, yet again, welcome back, to one of the most powerful, and awesome operatic work of all times!
That’s right!
Welcome to Verdi’s 1851, truly dark, and yet, incredibly moving opera gem, the one and only:
“Rigoletto”.
Yay!
Welcome to an illustrious work, which remains a classic of the opera canon, despite being incredibly dark, decadent, depraved, and painfully tragic, and perhaps, an enduring work, due to the fortunate presence, as well, of love, and of gorgeous music.
Yay!
So in “Rigoletto”, thankfully, what beautiful, dramatic or hopeful, character revealing, melodious music, arias and duets which never fail to deeply move me, what truly divine quartet in the last act; and what mighty chorus creations, especially, the multiple, powerful, and gorgeous, men choruses, which are constantly found, at multiple turns, in this opera.
Wow! wow! wow!
And yay! yay! yay!
One of my favorite works, from highly acclaimed, musical genius and icon, Giuseppe Verdi (1813-1901).
Yay!
Probably, the darkest of Verdi’s works, if you ask me, “Rigoletto” is based on a famed and grim, 1832 play, by French author, Victor Hugo, entitled “Le roi s’amuse”. Yet, to this tragic and adapted operatic plot, Verdi, also adds for us all, fortunately also, some of the richest, most elegant, and somber music, ever written, with a wonderfully poetic libretto, from Francesco Maria Piave (1810-1876), a long term collaborator of Verdi’s, for many operas (including “La Traviata”, “La Forza del destino” or “Macbeth”).
Wow!
So what is Rigoletto about?
In a nutshell, Verdi’s 19th century, and yet timeless, three act, “Rigoletto” opera, is a cautionary tale about the importance of respecting one another, as otherwise, one risks, ending up, darkly “cursed”, if one constantly, mocks others.
Oh boy.
And so strong, is this dark “curse” theme fear, that this “motif” pervades the opera, from beginning to end, and is constantly on the title role’s mind.
Wow!
And to the point that believe it or not, but the opera was supposed, initially, to be chillingly, named “the Curse”, but yet, ended up, being titled more lightheartedly, “Rigoletto”.
How about that.
Picture Rigoletto, as a sharp tongued, mocking, taunting, hunchbacked “court jester”, to the powerful, womanizing, self-absorbed, duke of Mantua (instead of Victor Hugo’s initial depiction of 16th century French king, François 1er, to outsmart Austrian censorship), yet capable as well (Rigoletto), in the private sphere, of being a protective, warm, loving, and widowed father, and who will, by the end of the opera, experience a traumatic, dark, and “cursed” turn, in his family life, due to his constant “mocking” behavior.
Oh boy.
And by “mocking”, I mean Rigoletto’s public, insulting, sneering comments “in court”, which will ultimately lead him, towards a tragic outcome, for him, and for his daughter, as a consequence of the “curse”.
Oh boy.
And this tragic plot, is a reminder for everyone, that decency, empathy, and wisdom, are all great virtues, which, alongside intelligence, drive, and a touch of luck, generally, allow, for more happiness in life.
How about that.
So let’s delve into the plot :
In Act 1, at a social event, in the duke of Mantua’s palace, we meet many elegant “courtiers”, gossiping and partying together, along with the narcissistic, boastful, womanizing duke, dancing with a gorgeous, radiant, and graceful woman, the dazzling Countess Ceprano.
How about that.
The duke of Mantua truly believes, that his heart will never be owned by anyone, and explains that he is only moved by beauty, in all of its forms, which he loves to conquer, and despises fidelity.
Oh boy.
Let’s now, listen to the duke’s famous “Questa o quella” aria, about these views, (the first two minutes of this fun, and set in a totally different time/era excerpt, sung here, a few years ago, by the great Pavarotti):
Oh boy.
Enjoy this sumptuous, joyful, a tad silly, and light hearted aria:
So fun and cheeky.
The “court” gossips about everyone attending, and also mocks, the hunchbacked and cynical “court jester”, called “Rigoletto”, suspected of keeping at home, a young mistress (in fact, she is a young woman, called Gilda, and Rigoletto’s very own young daughter).
Oh boy.
“Rigoletto” during the evening, ridicules as well, a few other “courtiers”, including the “duped” Count Ceprano, and in particular, viciously “bullies” as well, another courtier, Monterone, who wants to denounce the duke of Mantua, for seducing also, in addition to the duke’s numerous other conquests, his (Monterone’s) very own, young daughter.
Oh boy.
Monterone is arrested, and “curses” Rigoletto.
Oh boy.
Rigoletto, on his way back home, upset by Monterone’s disturbing “curse”, encounters in his neighborhood, a professional assassin, Parafucile, who offers him, his services. Rigoletto dismisses him, but thinks about the idea, and gets back to the warmth of his home.
Oh boy.
Rigoletto, once home, greets lovingly, his daughter Gilda; asks her to stay quietly, in the house, as he is afraid for Gilda’s safety (and is worried about the curse). A few minutes later, Rigoletto leaves the house, and asks his housekeeper, to not let anyone into the house.
Oh boy.
The duke dressed as a “student”, having appeared in Rigoletto’s courtyard, realizes then and there, that Gilda, is Rigoletto’s daughter, overhearing their conversations, and when Rigoletto finally, leaves his house, the duke bribes Rigoletto’s house keeper, to send him Gilda.
Oh boy.
In the courtyard, the duke declares his love for Gilda, both, having briefly, admired each other in church, and Gilda, thinking the duke, a poor student.
Oh boy.
Both the duke and Gilda fall fast, convincingly, and deeply, for each other, opening each other’s heart, and igniting, for Gilda, an enduring hope, despite the fear of loving.
Oh boy.
A tad fast, perhaps?
Yet, what beautiful words between these two love birds. Especially this beautiful and sunny idea and episode, which contrasts with the opera’s huge, growing, engulfing, and dramatic darkness:
“Love is the sunshine of the soul”.
How about that.
Let’s now listen to the first incredibly beautiful love duet, so incredibly poetic, and let me introduce you to the dashing, seductive, French tenor Benjamin Bernheim, singing with great command, nuance, and quiet charm, (and later wonderful sassiness), the duke of Mantua’s role, for his debut at the MET (how about that?), and singing here, with Italian soprano, Rosa Feola, as Gilda, at a recent MET dress rehearsal, and who both sang it then, with as much gracefulness, beauty and talent, as they did together again, last (Thursday) night.
Just gorgeous.
Wow! and yay!
And let’s now, listen to one of the most beautiful love arias ever written, which Gilda sings, as the duke departs, and which she performs as well, delicately, and with incredible feeling, about her newfound love, just before retiring back to her room. And here, let’s enjoy it, performed live at the MET a few months ago, already in this new Sher production, still by Rosa Feola, who sang it then, with as much subtlety and mastery, as she did, last (Thursday) night.
Yay!
Enjoy!
So beautiful, a tad idealistic, but charming, and what simple, yet incredibly moving music.
Wow!
As the duke finally leaves Rigoletto’s house, and Gilda, to get back to his own “palace”, the duke’s “courtiers” themselves, gather outside Rigoletto’s home, intending to abduct Rigoletto’s “mistress”, Gilda, (in fact, Rigoletto’s daughter, let me remind you). The courtiers then, stumble upon Rigoletto, on the street walk, and fool him, into wearing a blindfold, and holding a ladder, while they carry off the abducted Gilda, right under his nose.
Oh boy.
Rigoletto then, rushing back home, realizes his daughter Gilda, is missing, and remembers Monterone’s chilling and unsettling “curse”.
Oh boy.
Let’s listen now, during Gilda’s tragic and also comedic abduction, to the terrific “Zitti, zitti” men chorus creation, from yet another production, from a few years back.
Enjoy!
What gorgeous music and chorus.
In Act 2, the duke of Mantua, is at first, disturbed by Gilda’s abduction, the duke realizing, he was on the brink, of being convinced, to lead a virtuous life, with Gilda, having fallen deeply in love with her (Gilda), and whom he considers, then and there, pure, and an angel.
Oh boy.
What a shame.
Instead, as the courtiers tell the duke of Mantua, that Gilda is now, in the duke’s own bedroom, the duke hurries off to his quarters.
Oh boy.
Of course, otherwise, there would be, way less tension, or real darkness to this opera.
But still. Oh boy.
And one could have hoped for a “tamed” duke, tamed by love.
But no.
Oh boy.
Rigoletto then, enters the duke’s palace, looking for Gilda. He tells the bewildered courtiers, that Gilda is his daughter, and appeals to their compassion.
Oh boy.
Incredibly moving, of course.
Gilda then, appears, and runs to her father, and when all others have left, Gilda tells her father, of the duke’s courtship, and then, of her “abduction”. Gilda then, begs her father, to forgive the duke.
Oh boy.
In Act 3, Rigoletto and Gilda enter silently an inn, where Sparafucile (the assassin, whom Rigoletto met earlier in the opera, in his neighborhood), and his sister Maddalena, (an alluring prostitute), live.
Oh boy.
The duke (of Mantua) is inside, “amusing” himself with Maddalena, and sings of the fickleness of women. Here, Maddalena is compared to an ever “changing” feather, swirling in the wind, not quite the angel, the duke was imagining, during his “courtship” to Gilda.
Oh boy.
Let’s now, listen to this famous “La donna e mobile” aria, about the fickleness of women, here again, sang by the awesome Pavarotti, a few years ago, as the “serial dating” duke (of Mantua):
So fun, lighthearted, memorable, and, of course, devastating, for Gilda to hear from afar, that the duke of Mantua is not only singing, and seducing another woman, but also most probably, actually about to bed her.
Oh boy.
Rigoletto decides then and there, to send off his daughter Gilda, “disguised” as a boy, to Verona, and when she leaves, Rigoletto then, asks Sparafucile, to murder the duke of Mantua, and pays Sparafucile half of the amount for his “service”.
Oh boy.
“Disguised” Gilda, returns to the inn (without telling her father), before heading out to Verone, and overhears Maddalena, urge her brother Sparafucile, to spare the duke of Mantua, she is “enamored” with, and murder Rigoletto, instead.
Oh boy.
Sparafucile refuses to do so, as Rigoletto is a paying”client”, but agrees to strike the next stranger to walk into the inn, to be able to produce a dead body.
Oh boy.
Gilda thinks it over for a second, and decides then and there, to sacrifice herself, as she knocks on the inn’s door.
Oh boy.
“Disguised” Gilda is instantly stabbed.
Oh no!
Gasp.
Rigoletto returns to the inn, to claim the body (whom he thinks is the duke), when suddenly, from afar, Rigoletto hears the duke, sing with delight, a shortened “encore”, of his lighthearted aria, “La donna e mobile”.
Oh boy.
Rigoletto then, understands the duke is still alive, frantically tears open the “body bag”, and finds, instead of the duke of Mantua, his own daughter Gilda, who is dying. Gilda asks her father, for his forgiveness, and dies suddenly.
Oh no!
Gasp.
In shock, Rigoletto remembers Monterone’s wicked “curse”.
Gasp.
Just incredibly sad.
And of course, in today’s times, Gilda’s self-sacrifice, feels a tad thoughtless, ludicrous, and imbecile, but then again, during the 16th century (during French King, Francois 1er’s reign), this entire “dramatic” plot, was totally realistic.
Oh boy.
And finally, let’s remember, we are speaking of opera, which often tends towards melodrama, and yet always makes for fun banter, and joyful discussions, among witty friends, before the opera starts, during intermission(s), and as one leaves the Met opera house.
Yay!
So what to say about the production?
That Bartlett Sher’s recent production, was simply stunning, incredibly elegant, yet often, intentionally dark, and always, solemn, and sophisticated.
Wow!
Set during the late 1920’s, in Germany, in an Art Deco palace (it could also telegraph, with a little imagination, as a “Great Gatsby”, American party, if you ask me), on a large rotating set, and perfectly and astutely lit. And finally, what gorgeous costumes for the entire cast (including an elegant and luxurious kimono like, day time robe, the duke wears in his palace, in Act 2).
Wow!
What to say about the singers and orchestra?
That all of them, including the chorus, were, as was the orchestra, beautifully conducted, with great verve and authority, under Speranza Scappucci’s masterful baton, and what great and nuanced sound effects as well, in the last act, mimicking sounds of a raging storm, from the chorus.
Wow!
Bravo!
And three singers, particularly stood out for me:
First, in the title role, American baritone, Quinn Kelsey was terrific, both, as a commanding and mocking “jester”, and as a warm and loving father. And what a charismatic presence, what a striking, herculean voice, and what an attentive performer to his partners.
Wow!
Bravo!
Italian, juvenile looking, and highly expressive soprano, Rosa Feola, was truly exceptional, as well, as Gilda (Rigoletto’s daughter), such a warm and bright sound, what beautiful color and technique, and what a great actress as well: as convincing in her portrayal of a young, and forever lost, “love bird”, as she was, as a young, restless, and loving daughter.
Bravo!
And handsome, charming, seductive, quietly captivating, and youthful looking, French tenor, Benjamin Bernheim, for his debut at the MET, was a terrific duke of Mantua, what a potent, impressive, and clear voice, and perhaps, almost too likeable, as the self absorbed, fickle, and amoral duke, but actually, it makes, for an even more nuanced performance, in my mind, that way.
Bravo!
So, to sum up my feelings, about Verdi’s iconic “Rigoletto”, admired last Thursday, at the MET Opera, in great company: what an extraordinary, devastating, ghastly, and moving tale, set to awesomely beautiful music, and what intricate arias and duets. What a great nuanced “Rigoletto”, Kelsey proves to be, what a great seductive duke Berheim embodies as well, and how moving is Feola as Gilda, and what an elegant Sher production, enhancing well, the constant tension found, between the light emanating from love, and the darkness exuding from the curse, reminding everyone, to just be nice to each other in life, to find peace, happiness and serenity.
Wow!
Bravo!
And yay! yay! yay!
Just terrific!
And not to be missed!
Until next time friends!
Soft…
Fluttering…
Sunny…
Joyful…
Happy…
Loving…
Eternal butterflies 😊