Raving for Rigoletto
Entering the extravagant room of the Metropolitan Opera at Lincoln Center, I took in all of my surroundings patiently with appreciation. The gold curtains and the golden walls complemented the red velvety seats everyone was seated in beautifully. The combination of gold and deep red reminded me of nobility, seeming to hint at Rigoletto’s opening scene in the Duke’s court where a ball taking place.
Before the curtains were raised, the chandeliers’ lights dimmed and the audience grew silent. The orchestra lured the audience in with its beautiful music. I was captured by the harmony between each set of instruments. Immediately the orchestra drew me to the edge of my seat, anticipating the curtain raise so I could not only hear more music, but also view how the opera opens up. The curtains split, and we see a group of people in fancy attire socializing and dancing about in the castle of the Duke of Mantua. I was amazed at how realistic the “castle” was, for they looked as if they were taken from an actual castle in Italy and tactfully placed onto the Metropolitan Opera stage; set and costume designer Zack Brown did an amazing job with everyone’s attire and the setting. Moments later, the Duke becomes the center of attention, appealing to as many women as he can by serenading them with his songs. His tenor voice was pleasant to listen to as he attempted to seduce Countess Ceprano with his charm and blatant feelings. Just as Rigoletto entertains the guests at the ball by mocking Monterone, Monterone in his baritone voice angrily curses both the Duke for seducing his daughter, and Rigoletto for making fun of him. By the end of scene 1, the audience is left wanting to see how the Monterone’s curse will affect Rigoletto.
The second scene opens up with a very dim lighting to represent the nighttime in a not-so-urban area of the city. We see Rigoletto hobbling across the stage, pondering about Monterone’s curse and how it would affect him. Sparafucile, a professional assassin crosses paths with Rigoletto and during their encounter, the orchestra plays ominous music when Rigoletto learns of Sparafucile’s occupation. Their conversation ends with Sparafucile chanting his name multiple times to Rigoletto; the actor playing Sparafucile impressed me with his ability to project his voice and hold a note, although it seemed to quiver a little bit, a term also known as vibrato.
Later after Rigoletto expresses his fears of the curse to his daughter, Gilda, he forbids her from ever leaving the house except to attend church. In secret, she confides in her nurse about her guilt for hiding the truth about the man he met at church, and declares her infatuation for this man. When the Duke overhears this outside of the house, he barges in declaring his love for Gilda, and persuades her that she is the only girl he loves and gives her a false name so Gilda would not know his identity. After he leaves, Gilda sings an aria alone, singing “Gualtier Maldè! Caro nome.” Near the end of her aria, she sang many high notes with an incredible ability to both hit the notes and project them through the audience.
The chemistry between actors George Gagnidze and Christine Schafer playing Rigoletto and Gilda made the acting very convincing, and made me pity Rigoletto for the curse upon him as well as his disappointment in Gilda when she revealed her secret relationship with the Duke at church. Overall, I commend Paolo Arrivabeni for his excellent conducting of the orchestra and the actors of Rigoletto for a wonderful performance.
picture found on: http://www.nytimes.com/2010/10/04/arts/music/04rigoletto.html
