I love opera and have done for a number of years now. Verdi is my favourite of the opera composers and Rigoletto is in the top 5 of my favourite operas of his. Although this is an outstanding production and one of the better Rigolettos I've seen, I prefer the Jean Pierre Ponelle and the Tito Gobbi films and recordings-wise I love the Milnes/Sutherland/Pavarotti/Talvela recording.
David McVicar does a fine job director, people may love or hate his style, while there have been some strange decisions(ie. 2004's Faust where Bryn Terfel as Mephistopheles wears an evening dress in the final act which was fun when I first saw it but now it seemed as though McVicar was sending up Broadway or something) I find it interesting. Here, Rigoletto's distress and isolation is more acute and better depicted than any other production I've seen, the idea to show a seedy misogynistic world is really quite refreshing and the whole Rigoletto and Sparafucile scene is genuinely intense.
The costumes and sets are impressive, Gavanelli really looks the part of the hunchbacked jester and the sets are wonderfully gritty such as in the opening scene, the scene between Rigoletto and Sparafucile(involving tin roofing which I loved) and the climatic trio. Camera work is also very good. That's not to forget the poignancy of this opera, and this production also does very well in conveying this particularly in Parmi Veder Le Lagrime and Cortigiani, while the La Maledizione is very chilling and anguished.
Rigoletto is one of my favourite operas for many reasons. The characters are among Verdi's most memorable, Rigoletto especially lives long in the memory but probably the most difficult and complex of the Verdi baritone roles. The story is intense and moving and the music is brilliant, and not just La Donna E Mobile, there is also Questa E Quella, the quartet, Cortigiani, Si Vendetta, Caro Nomme, Ella Mi Fa Rapita...Parmi Veder Le Lagrime(my personal favourite), La Maledizione and the Climatic trio.
Performing this music are a very musical and excellent orchestra and a suitably vigorous and swift Sir Edward Downes as the conductor. The performances are very, very good. Marcello Alvarez does have a nervous start but gets better as the production progresses. He is appropriately cynical and handsome, if a little too irresistible. Mostly he sings very well, while some of his singing lacks clarity his top does have an appealing ring to it, he gives a moving Parmi Veder Le Lagrime and sings La Donna E Mobile with vigour.
Christine Schafer is an immaculate Gilda. Some mayn't like her voice, finding her lacking in sweetness, but she is very touching in her and Gavanelli's many duets together and in the duet between her and Alvarez and the quartet, she acts beguilingly and as well as singing with great musical shape she handles the colouratura very well. Eric Halvorsen makes a strong impression as Sparafucile, he is very menacing when he should be and sings with a resonant tone.
Paolo Gavanelli is just outstanding in the title role. He has the ideal voice for Rigoletto, dark while never sounding pushed. His vibrato can get rather rapid occasionally, however his diction is crystal clear and he sings with malevolence and musicality. He is also every bit as impressive acting wise, Cortigiani especially manages to be very scary and poignant and his duets with Schafer tender.
In conclusion, an outstanding Rigoletto. 10/10 Bethany Cox
