Woman is a Fickle Thing.

“Questa o quella.” These simple words, meaning this woman or that, truly captured the essence of the conflict found in Rigoletto. When the curtains parted and the chandeliers were drawn, I was appalled at the intricate palace that was part of the set design. Additionally, the opera singers made their appearance known through a combination of their detailed costumes and their beautifully sculpted voices.

I admit I’ve never been to an opera, and the experience at Rigoletto was a challenge for me mentally. However, I found the night at the opera to be one of the most enriching events I’ve ever attended. In Act I, the opera Rigoletto begins by introducing the promiscuous Duke of Mantua boasting about his many sexual encounters with the opposite sex. This character in Giuseppe Verdi’s opera basically ignited Monterone’s wrath. In his temper, Monterone denounces the actions of the Duke for seducing his daughter and curses the hunchback jester, Rigoletto. I found the beginning of this opera refreshingly original and interesting. Even though the opera was sung strictly in Italian, I was able to follow intently and comprehend most of the action onstage.

One surprising twist to the night at the opera is the performer, George Gagnidze, who played Rigoletto, had a cold and persisted through all of the three acts. Even though he occasionally coughed onstage, it was barely noticeable as his booming baritone voice produced a delightful melodic contrast to Gilda, played by Christine Schafer.

Rigoletto was truly an amazing experience because I had the opportunity to witness beauty in the making and to hear the professionally trained voices of the opera singers. Throughout the night, I couldn’t find a single area to complain about except for the location of our seats. All in all, it was a wonderful evening from the moment I entered The Metropolitan Opera to the instant applause roared at the curtain call of the opera singers.