For some, the movement allows for a shifting of place and time throughout (like during the cabaletta “Possente amor mi chiama where we see Gilda getting prepared for the Duke’s arrival…) and thus creates visual momentum and variety. He does manage some darker tableaus to fit with the general mood of “Rigoletto,” but he also relies heavily on the now cliched turntable that so many directors have aped repeatedly on the Met stage. The customary dark leather jacket that is a staple of the Sher operatic universe is here (it’s really something that the Duke of Mantua, Romeo, Count Almaviva, and Otello, all get to wear the same-looking coat at some point in their respective operas perhaps there’s some thematic connection there?) and bright color palettes that have served him best in Rossini comedies at the Met are also on display. Rigoletto’s role (which was never quite clear in Las Vegas) is at least back to status quo of Piave’s libretto, even if this is yet another transposition. But at the very least it’s coherent narratively. It was the epitome of style over substance and after seeing it a few times, no singer however great could get me to subject myself to its charmlessness.īartlett Sher’s new production, which opened on New Year’s Eve last year, isn’t that much more revelatory in terms of presenting new ideas or adding newfound depth to the classic story. The Met Opera’s faithfulness to Michael Mayer’s increasingly unnerving Las Vegas production which, once you’ve experienced the saturation from the spectacle itself, comes off as rather empty in its storytelling. It’s virtually been in and out of the stage throughout the years, but I stopped attending it over the past few years (I hadn’t seen the opera at the Met since before the launch of OperaWire in late 2016). “Rigoletto” has remained a staple at the Met forever. And like Laitman, it has always remained one of my favorites, exploring the damaging impact of a toxic patriarchal world where no man is without shame or blame (it was particularly striking this time around to realize that despite being a teenager, Gilda knows nothing of her family’s past her father’s attempt to lock his daughter away from the world seems to include keeping her own story and identity from her as well). The opera, which remains as timely as ever, is undoubtedly one of Verdi’s and the entire canon’s greatest. 14, 2022 for the first time in years, her words resonated rather deeply with me. “Verdi’s ‘Rigoletto’ is one of my favorites and the use of music to reveal the horrific fact that the Duke is still alive is so chilling,” she noted. Leonora’s father is accidentally shot dead by her lover, Don Alvaro.In a recent interview with OperaWire, composer Lori Laitman noted that Verdi’s “ Rigoletto” was among her favorite operas. La Forze Del Destino contains some of Verdi’s most brilliant choral writing and several beautiful and intimate arias. Listen to the best of Verdi on Apple Music and Spotify. Although he was a profoundly serious man, his final opera, Falstaff, was a brilliant comedy. Father and daughter relationships are a recurrent theme in his work, as are the subjects of injustice, oppression, and religious hypocrisy. “The Drinking Song” from La Traviata, “The Chorus of the Hebrew Slaves” from Nabucco, and “La Donna è Mobile” from Rigoletto are as well known in popular culture as they are in the world of opera.
More than 100 years after his death, the works of Verdi form a major part of today’s opera repertoire.
He was the most eminent composer in Italian opera after the eras of Bellini, Donizetti, and Rossini. Giuseppe Verdi was the greatest of all Italian opera composers.
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