Opera Australia celebrate their 70th with Verdi’s Rigoletto

It was a special night for Opera Australia as they celebrated the exact day of their very first performance 70 years ago. For their birthday anniversary celebration, they chose the much loved Australian production of Verdi’s Rigoletto by Director Elijah Moshinsky, revived by Director Kate Gaul. Taking the story out of the original early 1500’s, Moshinsky used the movie by Fellini “La Dolce Vita” as inspiration for a high class setting placed in 1960.

The sets offer visual diversity. The opening scene features the lush interiors of the Duke’s castle with rich reds, walls crammed with family portraits, men in tuxedos and the occasional flash of costume colour from the few attending women. There’s even a celebrity spotlight for the Anita Ekberg character Sylvia Rank from the movie, all blonde curls and bosoms crammed into a black evening dress, pursued by photographers. In sharp contrast, we visit a cramped dressing room, a bleak basic streetscape, a cosy, middle class home and very dubious “bar” down next to the river.

Verdi chose to stay true to the plot of the Victor Hugo play “Le roi s’amuse” (The King Amuses Himself) which was banned at the time. It is truly amazing the opera was able to be performed whilst the play was unable to get it’s second performance until after the 50 year ban. There is a sketch of the set for the original play showing a dollhouse style house where the audience gets a glimpse into the upstairs and downstairs rooms. Moshinsky adopted the same approach for this production, allowing action to take place beyond the scene which features those singing. Placing the dollhouse on a revolving stage, the set rotates to reveal all scenes and literally carries the audience on a journey – very clever.

Rigoletto is considered one of Verdi’s best known operas. Even at the time of rehearsing the premiere, Verdi knew he had a hit on his hands. The most famous aria, performed by the leading Tenor, is one you will be well familiar with “La donna e mobile”. During rehearsals, Verdi was strict in instructing that the singers were not allowed to sing – or even whistle – the tune outside the theatre until after opening night. Of course, after that performance, everyone was whistling it.

Modernising the setting doesn’t always “prove” that a story of the human condition is timeless. In Rigoletto, there are themes which don’t translate so well. In the 1500s you could be burned at the stake if accused of being a witch. Curses were considered very powerful and might even be blamed for taking a life. In 1960 – particularly in the privacy of the Duke’s decadent castle – morals have become more corrupt and curses no longer have the same impact.

As another example, in the 1500s, there is a big difference between kidnapping a mistress to be served up to the Duke as a joke and kidnapping an innocent young daughter. In those times, the daughter would then be “sullied” which would affect her ability to make a decent marriage. According to the libretto, the kidnappers are taken aback once they realised their mistake. In 1960? Not such a big deal.

These two considerations are the main sticking points in the translation to a new era which depletes the power of the story. However, other features of the translation become quite fun such as doing the Twist to classical music, paparazzi attacking and being attacked and arriving on set driving a Fiat Bambino.

The Artists

In the role of Rigoletto is Slovak Baritone Dalibor Jenis. He has a marvellous, rich voice with great technique, the capacity to sing over both chorus and orchestra and has the passionate, dramatic skills which are required for the role. Outstanding work and seeing him is worth the ticket itself. The detail of his direction was not always logical. There are quite a number of times he stands fully upright and throws his walking sticks away. Does he need them or are they are just for sympathy? Is the hump on his back really causing pain and discomfort or can he actually get along just fine? Consistency in the movements of a crooked built man might need to be tidied up. Other than that, his performance was superb.

In the role of his daughter Gilda is Korean-Australian soprano Gemma Nha. Her acting skills are excellent as she faithfully portrayed the innocent teenager, bored with the smothering protection of her father and completely falling for the silver tongued words of the Duke. Nha easily reached all notes and phrases demanded within this coloratura role and was clearly enjoying the experience. This is her debut role with the company. Verdi might not be the perfect match for her voice, though we would very much like to see her in the Mozart roles she has notched into her repertoire belt with other companies.

In the role of the Duke of Mantua is Tenor Kang Wang presented in a suave white tuxedo. With a wink and a smile, his interpretation felt more like Frank Sinatra than a lusty, morally corrupt aristocrat thus, there is room for him to develop the character more as the season progresses. His voice is clear and accurate, very lyrical, though missing the Bel Canto styling that matches the genre. The audience enjoyed his performance and showed their appreciation at the curtain.

Bass David Parkin played the assassin role of Sparafucile. It is a delectably evil role albeit quite deft in planning and carrying out his murderous vocation. Parkin played it quite calmly as if there was nothing unusual in his activities. His voice was excellent and the music sits well within his range.

Here’s an example of the marvellous quartet from the final act. Listen to how Verdi brings out the personalities of each character as they all work together. Quartet “Bella figlia dell’amore” featuring Pavarotti (The Duke), Joan Sutherland (Gilda), Leo Nucci (Rigoletto) and Isola Jones (Maddalena).

Italian Conductor Sesto Quatrini makes his debut with the company this season. He offered a unique perspective on the music, making additional changes to the tempi. Some of these made for an interesting variation from the norm but, other times it disrupted the flow of what is already perfectly written.

Sian Sharp’s Maddalena turned on all the sexiness required to starkly contrast with the other female characters. She is well versed in this role. Gennadi Dubinsky’s Monterone was strong vocally but, also perhaps a little subdued. Here again, there is opportunity to really let rage fly off the handle to justify delving out the dreaded curse which is the crux of the story. Simon Meadows’ Marullo did an excellent job vocally and in executing the variety of dramatic emotions his role offers. The crowd favourite was long standing artist with the company Dominica Matthews as Giovanna. Making the role her own, she got many laughs from her comic timing, yet, kept it subtle enough so as not to steal the scene from the main story. It was a great example of master stagecraft.

Summing up

The production overall is a fun one. Superb story originally from Victor Hugo, one of the most famous French writers in history, paired with the incomparable melodies and orchestration of Giuseppe Verdi. All performed by wonderful principals supported by world class singers and musicians from the Opera Australia Chorus and Orchestra.

If you are new to opera, this is a really great place to start and, if you are well familiar with opera, you’ll be able to sit back and fully appreciate the music and the visuals.

Highly recommended.

Related Links

Book your tickets at the Opera Australia website: https://opera.org.au/productions/rigoletto-sydney/
What else is on at the Opera House?: https://www.sydneyoperahouse.com/whats-on?genre%5B%5D=1436
More about Baritone Dalibor Jenis: https://www.operabase.com/dalibor-jenis-a3608/bio/en