Rigoletto

It is also time to write of my experience of watching a live relay at the Bolden Cineworld of Guiseppe Verdi’s Rigoletto from the Royal Opera House, London, and the 497th performance on Tuesday 12 April 2012 at 7.15. I was unfamiliar with the story or the production in the packed theatre although I overheard a conversation warning that it was raunchy.

In contrast to the Metropolitan and other great Opera House the Royal Opera House London had developed a reputation for staging challenging and at time controversial productions of the classics. The Opera was first performed in Venice in 1851. The inspiration for the work is the play by Victor Hugo Le roils s’amuse which depicts the king of France as an immoral and cynical womaniser. Instead of the King of France the opera features an Italian noble whose title although a real one had become extinct.

The opera open at the court of the Duke who sings about his pleasure in taking as many women as possible. I use taking than having because of his use of position and subterfuge to seduce everyone from whores to the wives of the courtiers. In the Royal Opera production members of court participate in an orgy with  loose women who  are topless with one naked as the act progresses together one full frontal male nude. Given the audience was primarily middle aged to elder, here were some gasps from those unprepared, although many like me I suspect had lived through the era of Hair.

The Duke is presently engaged in two ambitions. The first is to seduce the wife of the Count of Caprano and the second a virginal young woman he has recently seen at church.  The court is also interested in rumours that the deformed (hunchback) court jester Rigoletto has a lover because of visiting a house on a regular basis often late at night and without mentioning it to anyone in the court.  Rigoletto does not endear himself to the court especially as suggests arresting the husbands/ fathers of those the Duke wishes to seduce. In one instance the Duke arrests a father who utters a curse on the Duke and Rigoletto who is much affected.
From scene two of the first act the Opera changes its mood.  Rigoletto comes across an assassin who offers his service and considers that while the man kills with physical weapons, he uses the tongue to stab victims with its malice. He accept the suggestion of a group of disguised courtiers that he should help them in the kidnapping the Countess Coprano, taking her out of the orbit of the advancing Duke. They blindfold Rigoletto.  Meanwhile the Duke having trailed the Rigoletto’s daughter Gilda to her home and overhears the young women express her interest in  the young man at church who she hopes is not a noble man but someone poor such as student. He pretends to be so on making contact and gaining the support of her maidservant Giovanna who he sends away. Hearing sounds which she assumes her father returning she sends the Duke away declaring in her interest in him. The blindfolded Rigoletto then aids the group in kidnapping his daughter who they spirit away leaving him horrified when he realises he is at his home and his daughter has gone. He remembers the curse laid on him.

In the one scene second Act Rigoletto returns to the Palace believing it is the Duke who the most likely to have taken his daughter. In fact it is the Duke who learning what his courtiers have done rescues her and then declares his interest without disclosing his position. The courtiers make fun of Rigoletto for having made fun of then and when he explains about the loss of his daughter instead of owning up they beat him up but he manages to finds his distressed daughter who tells him to send everyone else away. Rigoletto convinced the Duke is behind the kidnapping talks of revenge but the girl pleads for the young man with whom she has become infatuated. As with Miranda in the Tempest both women have been kept away from young men and fall for the first male to show an interest.

In the third Act the Duke visits the Inn run by the assassin and his sister and he sings the famous aria La donna é mobile -women re fickle. He is heard by Gilda and her father who are passing by and she then witnesses him attempting to seduce the willing sister. The Duke has previously expressed genuine interest and loving concern for Gilda and a willingness to mend his ways at the commencement of the second Act but the availability of the woman is too much for him and he reverts to his natural ways.

Rigoletto bargains with the Assassin to kill the Duke who because of a storm  spends the night at the Inn.  Rigoletto persuades his daughter to leave the city, disguised wearing the clothes of a man. The sister has genuine affection for the Duke and on learning that her brother has been paid to kill him pleads with him not to do so but kill the first person available. Gilda overhears the plot and despite knowing the behaviour of the Duke sets out to save him by dressed as a man calling on the Inn.

Rigoletto returns to the Inn at midnight to remove the killed man in a sack to be dumped in the river. He has to see the body for his revenge to be complete and only then sees the body of his beloved daughter. He remembers the curse and collapses. Given that I was unaware of the story the ending is something of a shock although the emotions aroused are very different from those in the opening scene.

The opera is a tour de force for Dimitri Platinias as Rigoletto who made his name when playing the role with the Greek National Opera and this is his Convent Garden debut. I thought his performance outstanding. The Duke is played by the Italian Vittorio Griglo who once appeared in a version of West Side Story with James Goldofini before turning to Opera He made his debut at the Royal Opera House in  Faust as the lead. Gilda is played by Ekaterina Siurina having previously performed the role in a production at the Metropolitan.