Rigoletto – REVIEW
Image: Ernesto Petti as Rigoletto in Opera Australia’s 2023 production of Rigoletto at the Sydney Opera House Photo Credit: Keith Saunders
Rigoletto is possibly Verdi’s most-loved opera, its score sublimely complementing Piave’s libretto that Verdi requested be full of drama. And indeed, it is a gripping story of passion, deceit, murder and suicide, as well as love and lust.
The story? The Duke of Mantua heads a decadent court.
He steals Count Ceprano’s wife from under her husband’s nose, seduces Count Monterone’s daughter, then has him arrested, and even has his eyes set on Rigoletto’s innocent young daughter Gilda.
Rigoletto is the Duke’s court jester, and he makes the mistake of mocking both Ceprano and Monterone, inciting vengeance in the former, and a terrible curse from the latter, which haunts Rigoletto to the bitter end.
With his fellow courtiers eager to repay Rigoletto for his invectives, Ceprano makes good his vengeance which, together with Rigoletto’s murderous sights set on the Duke, results in disastrous, unforeseen circumstances.
This is the third time I have seen Elijah Moshinsky’s production since it was first produced in 1991 and it still enthrals (although I would like a set change), with a stellar cast guided by revival director Shane Placentino.
As Rigoletto, baritone Ernesto Petti commanded the stage, whether insulting the courtiers or humbly fearing Monterone’s curse, expressing his love for Gilda or overcome with grief.
David Parkin’s bass provided an ominous note in Monterone’s resounding curse upon Rigoletto that reverberated throughout the fateful course of action.
Stacey Alleaume’s Gilda was sublime, the soprano capturing the innocence and passion of first love, and Gilda’s devotion to her father. Alleaume’s command of the upper register in “Caro nome che il mio cor” was truly breath-taking.
Tenor Aatalla Ayan performed a strong Duke of Mantua, carrying off two of the opera’s best-known arias – “Questa o quella” and “La donne e mobile” – with masculine virility.
Other members of the cast (including bass Roberto Scandiuzzi as Sparafucile, the assassin for hire, and Sian Sharp as the maid Giovanna and Sparafucile’s sister Maddalena), added their lustre to the production even though their roles were smaller.
The duets, trios, quartets and quintets were spectacularly good in their precision and pronunciation.
Under the exciting baton of Renato Palumbo, the orchestra would have thrilled Verdi to hear its interpretation of his great work.
Until June 26
Joan Sutherland Theatre, Sydney Opera House, Bennelong Point
opera.org.au
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