rigoletto

Giuseppe Verdi

Opéra Bastille - from 27 May to 27 June 2017

Photo © Saul Leiter

Rigoletto

Melodramma in three acts (1851)

Music
Giuseppe Verdi
Libretto
Francesco Maria Piave


In italian

Conductor
Daniele Rustioni
Director
Claus Guth
Il Duca di Mantova
Vittorio Grigolo
Rigoletto
Željko Lučić
Gilda
Nadine Sierra
Sparafucile
Kwangchul Youn
Maddalena
Elena Maximova
Giovanna
Marie Gautrot
Il Conte di Monterone
Robert Pomakov
Marullo
Christophe Gay
Matteo Borsa
Julien Dran
Il Conte di Ceprano
Mikhail Timoshenko
La Contessa
Veta Pilipenko
Paggio della Duchessa
Laure Poissonnier
Usciere di Corte
Christian Rodrigue Moungoungou
Set design
Christian Schmidt
Costume design
Christian Schmidt
Choreography
Teresa Rotemberg
Lighting design
Olaf Winter
Dramaturgy
Konrad Kuhn
Video
Andi A. Müller
Chorus master
José Luis Basso

Orchestre et Choeurs de l’Opéra national de Paris

French and English surtitles

about


"The moment of vengeance has finally come. For thirty da ys I have waited, Weeping tears of blood, behind the mask of a buffoon."  

Rigoletto, Acte III


In Victor Hugo’s luxuriant drama Le Roi s’amuse, Verdi found theatre worthy of Shakespeare. Such, at least, were his enthusiastic words when he urged his librettist Piave to scour all Venice to find someone with sufficient influence to get his new opera past the censors unscathed. Alas, conventional morality rose up in protest and it proved impossible. Verdi’s hunchbacked jester is one of the most complex and tormented figures in the entire operatic repertoire: monstrous and heartbreaking, grotesque and sublime, this tragically doomed father who seeks to save his daughter from the clutches of the duke, will be the one to kill her. The role reaches its apogee in the aria “Cortigiani, vil razza dannata”, in which the descending movement, from Rigoletto’s explosion of rage to his begging, confirms Verdi’s capacity to adapt traditional bel canto to the demands of theatrical verisimilitude. This is director Claus Guth’s first production for the Paris Opera.

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