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RIGOLETTO
BY GIUSEPPE VERDI
TEATRO LIRICO D’EUROPA
Libretto by Francesco Maria Piave
Based on Victor Hugo’s drama: LE ROI S’AMUSE
ARTISTIC DIRECTOR/STAGE DIRECTOR
CONDUCTOR
SETS & COSTUMES
CHORUS DIRECTOR
Giorgio Lalov
Adrian Sylveen
Giorgio Lalov
Rider Foster
DISTRIBUTION
Artists are subject to change without notice
THE DUKE OF MANTUA
RIGOLETTO
The Duke’s Jester, a Hunchback
GILDA Daughter of Rigoletto
SPARAFUCILE
An Assassin
MADDALENA Sister of Sparafucile
COUNT MONTERONE
MARULLO
Nathan Snyder
Michael Nansel
Gayane Ghambaryan
Steven Fredericks
Rebecca De Almeida
Vladimir Hristov
Robert Garner
Courtiers, ladies and gentlemen of the court, servants Place and Time: 16th Century Mantua, Italy
ARTIST BIOGRAPHIES
(ARTIST ARE SUBJECT TO CHANGE WITHOUT NOTICE)
MICHAEL NANSEL – RIGOLETTO
Michael Nansel is an award-winning singer and actor. Best known as an opera singer, he is also an accomplished recitalist and concert artist and appears frequently in musical theater classics. Between Opera and Musicals, Mr. Nansel has over 80-roles to his credit. He sings music from the Mozart to Sondheim, from Verdi to Rodger & Hammerstein. He was the Wichita Grand Opera Singer of the Year in 2012 and was the dual winner in 2003 of the Washington Area Theatre Community Honors for Outstanding Lead Actor in a Musical and Outstanding Featured Actor in a Musical. He has also twice been a member of Casts nominated for Helen Hayes Awards. His voice has been described as “stentorian”, “rich” with “great vocal and emotional power”. Reviewers have also remarked that his acting “communicates deep humanity”, can be “tender and anguished” and that he is “the top banana”. Mr. Nansel possesses a diverse repertoire ranging from the comedic Figaro (BARBER OF SEVILLE), Don Giovanni (DON GIOVANNI) and Falstaff (FALSTAFF) to the dramatic Count di Luna (IL TROVATORE), Scarpia (TOSCA) and Macbeth (MACBETH). Among his most widely acclaimed roles are the Di Luna, Iago (OTELLO), Figaro, as well as Danilo (THE MERRY WIDOW), and the title Character in SWEENEY TODD: THE DEMON BARBER OF FLEET STREET as well as Germont in LA TRAVIATA. His concert credits include MENDELSOHN’S ELIJAH, HAYDN’S CREATION, MOZART’S REQUIEM, FAURE’S REQUIEM, HANDEL’S MESSIAH, BRAHMS’ REQUIEM, BEETHOVEN’S MASS IN C MAJOR, and Block’s SACRED SERVICE (Avodat Hakodesh). He has been conducted by several Maestros of note including Julius Rudel, Plácido Domingo, Eugene Kohn, Marin Alsop, Steven Mercurio and Gregory Buchalter. Directors of note include Stephen Lawless, Jonathon Loy, Jayme McDaniel, James Marvel and Scott Schwartz. He has shared the stage with Joyce DiDonato, Salvatore Licitra, Yunah Lee, Denise Graves, Lucas Meachem, Samuel Ramey and Paul Plishka.
Currently, Mr. Nansel resides in the Washington, DC area with his wife of 38 years. He is represented by Randsman Artists Management and studies voice with Andrea DelGiudice.
NATHAN SNYDER - DUKE OF MANTUA
Praised for his “rich and nuanced” sound and “riveting” acting, tenor Nathan Snyder has built a reputation of excellence in all genres. His energy and impressive versatility make him an outstanding presence on any stage. Nathan recently performed the role of Young Jim Thompson in GLORY DENIED and the United States Airforce Academy earning him a Challenge Coin from the current Superintendent of the Academy. A rare and auspicious honor for someone not in the military. Nathan also performed the role of Paco in Manuel De Falla’s LA VIDA BREVE for Opera Fort Collins in their first ever Spanish opera. This summer, Nathan joined the chorus of LA BOHÈME at the Bravo! Vail Music festival with the Philadelphia Orchestra conducted by Yannick Nézet-Séguin
After premiering the role of Dewey Noyes in STAGGERWING with Opera Kansas in 2021, Nathan has experienced great success in contemporary repertoire, including Clarence Elkins in BLIND INJUSTICE with Opera Theater of the Rockies, Miles in PROVING UP with Opera Steamboat, as well as covering the role of the Visitor in Phillip Glasses in THE PENAL COLONY. Nathan will be returning to Opera Kansas in May 2025 to reprise the role of Dewey Noyes. Between contemporary works, Nathan has also performed standard roles including Manrico in Verdi’s IL TROVATORE, Rodolfo in Puccini’s LA BOHÈME, Don José in CARMEN and Sam Polk in Carlisle Floyd’s SUSANNAH.
Nathan is equally at home on the concert stage, singing the tenor solos in Carmina Burana, Mozart’s REQUIEM, Bruckner’s TE DEUM, and Stravinsky’s IN MEMORIAM DYLAN THOMAS, just to name a few. He recently sang the part of the archangel Uriel in Haydn’s CREATION with the Laramie Choral and Mozart’s REQUIEM with the University of Wyoming.
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Nathan has also achieved high praise for his work in musical theatre, most recently in Loveland Opera Theatre’s production of BRIGADOON, where Marlow’s Musings said “Nathan Snyder’s vocals in the role of Tommy Albright are Magnificent! His “Almost Like Being in Love,” is worth the price of admission all on its own!!!” Nathan has performed, in concert, the role of Billy Early in NO NO NANNETTE and in Loveland Opera Theatre’s RODGERS AND HAMMERSTEIN JUBILEE.
A Colorado native and University of Northern Colorado alumnus, Nathan competed as a finalist in both the Opera Birmingham Vocal Competition and the Denver Lyric Opera Guild Competition. Some of Nathan’s other roles have included King Kasper in AMAHL AND THE NIGHT VISITORS, Count Almaviva in BARBIERE DI SIVIGLIA, Don Ottavio in DON GIOVANNI, Belmonte in DIE ENTFÜHRUNG
AUS DEM SERAIL, Ferrando in COSI FAN TUTTE, Cassio in OTELLO, Nemorino in L’ELISIR D’AMORE, both Eisenstein and Alfred in DIE FLEDERMAUS, Frederic in PIRATES OF PENZANCE, Martin in THE TENDER LAND, and Albert Herring in ALBERT HERRING.
Nathan is making his debut this season with Teatro Lirico as the Duke in Verdi’s RIGOLETTO (May) and Pinkerton in Puccini’s MADAMA BUTTERGLY (Feb. and April) He will join Teatro Lirico again in October 2025 as Don Ottovio in Mozart’s DON GIOVANNI.
GAYENE GHAMBARYAN – GILDA
Armenian soprano Gayane Ghambaryan began singing lessons at age 15. From 2004 – 2007 she studied at the Musical College - Romanos Melikyan. In 2007 she started vocal studies at Yerevan State Conservatory - Komitas in the class of Professor Larisa Mkrtchyan. She graduated from Conservatory in 2013 with a master`s degree. Gayane Ghambaryan was the first prize in winner in the singing competition - “The New 8th Sound” 2018 in Armenia.
Since 2018 Gayane Ghambaryan has frequently appeared on stage as a soloist with Armenian Ancient Music State Ensemble “Tagharan”, directed and conducted by Sedrak Yerkanyan. In December 2022 she appeared as Violetta Valery in LA TRAVIATA of G. Verdi with
Armenian National Opera and Ballet Theater.
In December 2023 was the first prize winner of United Kingdom’s “International Golden Talent” competition. During summer 2024, Gayane participated in the Greve Opera Academy in Chianti Italy, directed by Adrian Sylveen, the Artistic Director of Connecticut Virtuosi. She studied and performed there the roles of Mimi in LA BOHEME of G. Puccini and the Gilda in RIGOLETTO of G. Verdi.
Gayane was the winner of 1st prize in the 31st International Competition and Festival “LES ETOILES DE PARIS 2024’’ (October 2024). In November of 2024 she appeared as Mimi in performances of LA BOHEME in CT under the baton of Adrian Sylveen, the Artistic Director of Connecticut Virtuosi Chamber Orchestra, in collaboration with Teatro Lirico D’Europa (Giorgio Lalov, Artistic Director).
Gayane performs the masterpieces of the Baroque repertoire as well and appears in concerts with world renown violinist Nikolay Madoyan with a duet format of voice and violin. Her voice has been characterized as Soprano spinto with a large range of warm, emotional voice overreaching more than 2.5 octaves.
STEVEN FREDERICKS - SPARAFUCILE
Hailed for his “robust” singing with “great emotional depth”, Steven Fredericks has made his mark with some of opera’s most celebrated roles. His impressive repertory encompasses all styles and represents his versatility as a performer. Appearing with many leading American companies including The Dallas Opera as Antonio in Lee Hoiby’s THE TEMPEST, The Cinncinati Opera as Timur in TURANDOT and The Baltimore Opera as Reinmar in TANNHÄUSER, he has balanced his career with performances of concert works such as THE MESSIAH at Carnegie Hall, Beethoven’s 9TH SYMPHONY and MASS IN C MINOR with The Mineola Symphony and Verdi’s REQUIEM with The Hudson Opera Theatre. Internationally he sang Sparafucile in RIGOLETTO with The Chuvash State Theatre (Cheboksare, Russia), the Herald in LOHENGRIN, Paris/Saone-et-Loire (France) where he also appeared as the bass soloist in the
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Beethoven 9TH SYMPHONY. In past seasons he performed Zaccaria in NABUCCO and the title role in Boito’s MEFISTOFELE with the Taconic Opera and The Commendatore in DON GIOVANNI and the title role in DER FLIEGENDE HOLLÄNDER with The Connecticut Lyric Opera. Other performances include Strommenger in LA WALLY with Teatro Grattacielo at Alice Tully Hall, Lincoln Center where he also created the role of Signorelli in the world premiere of Louis Gioia’s UN RACCONTO FIORENTINO, the Commendatore in DON GIOVANNI with Salt Marsh Opera, Hunding in DIE WALKÜRE with The Adelphi Orchestra and Scarpia in TOSCA with both the Connecticut Lyric Opera and The Greve Festival in Italy.
Recently he sang Filippo in DON CARLO with the Fulham Opera (London, UK) and King Marke in TRISTAN UND ISOLDE (Connecticut Lyric Opera) and Betto/Forman in a double bill of GIANNI SCHICCHI/TRIAL BY JURY with The Salt Marsh Opera. In summer (2023) he rejoined the faculty of the Greve Festival in Greve-in Chianti, Italy located in the heart of Tuscany performing The Commendatore in Mozart’s DON GIOVANNI.
REBECCA DE ALMEIDA - MADDALENA
Brazilian Mezzo soprano “Rebecca de Almeida gave a staggeringly commanding performance as Carmen. I will be following her meteoric rise” said Lisa Reisman of the New Haven Register and Shore Life about her debut in the title role of Bizet’s CARMEN with Opera Theatre of CT in 2022. A couple years before the pandemic Rebecca switched her career as a pianist to become an opera singer, and she is quickly establishing herself as one of the leading mezzo sopranos in Connecticut. She has performed a variety of roles throughout the US, Latin America and Europe. Her operatic roles include:
• MADAMA BUTTERFLY (Puccini) Suzuki
• WERTHER (Massenet) Charlotte
• AMHAL AND THE NIGHT VISITORS (Menotti) The Mother
• LE NOZZE DI FIGARO (Mozart) Marcellina
• DON GIOVANNI (Mozart) Donna Elvira
• CARMEN (Bizet) Carmen
• LA TRAVIATA (Verdi) Flora
• GIULIO CESARE (Handel) Giulio Cesare
• DIE FLEDERMAUS (Strauss) Count Orlovsky
• LA LIBERAZIONE DI RUGGIERO (Caccini) Alcina
• ORFEO ED EURIDICE (Gluck) Orfeo
• SUOR ANGELICA (Puccini) La Zia Principessa
• GIANNI SCHICCHI (Puccini) Zita |
• CARMEN (Bizet) Mercédès
• COSÌ FAN TUTTE (Mozart) Dorabella
• DIE ZAUBERFLÖTE (Mozart) Third Lady
• EUGENE ONEGIN (Tchaikovsky) Filippyevna
Rebecca brings an “exhilarating presence and transparent energy to the stage.” She has been praised by Tribuna CT for her “luscious voice and warm timbre with a soothing, yet penetrating quality.”
In the 22-23 Season, the Brazilian mezzo made her debut at Carnegie Hall (in concert), and in Mexico at Teatro Ángela Peralta as Donna Elvira in Mozart’s DON GIOVANNI, where was invited to come back to sing Marcellina in Mozart’s LE NOZZE DI FIGARO this season.
With her deep devotion and love for Sacred & Choir music, Rebecca de Almeida is proud to be a recurring soloist of her beloved New Haven Chorale which brought her to Yale University’s Woolsey Hall to sing DURUFLÈ’S REQUIEM. The Hartford Chorale received her with great excitement as their Mezzo Soloist for Bach’s MAGNIFICAT IN D and Handel’s MESSIAH on their Holiday Concert in the 23-24 season. Rebecca is glad to have been welcomed to the professional choir CONCORA and to have some other role debuts, as Charlotte in Massenet’s WERTHER with Modern Vintage Opera, and as Suzuki in Puccini’s MADAMA BUTTERFLY with CT Lyric Opera in Connecticut where she resides.
THE ARTISTS
VLADMIMIR HRISTOV – MONTERONE
Bulgarian bass Vladimir Hristov has been a soloist with Teatro Lirico D’Europa in performances in the USA and Europe since the winter of 2003. His roles include the Bonze in MADAMA BUTTERFLY, Monterone in RIGOLETTO, Sciarrone in TOSCA, Fiorello in BARBIERE DI SIVIGLIA, the King in AIDA, Dr. Grenvil in LA TRAVIATA and the High Priest in NABUCCO with Opera De Massy – Paris.
ROBERT GARNER – MARULLO
Robert Garner has been lauded by the critics for his “deep, rich voice”, “mellifluous baritone”, “expressive nuance” and “highly accomplished characterization”. Career engagements include Title roles of EUGENE ONEGIN and NABUCCO at Union Avenue Opera of St Louis to great critical acclaim. Ford in FALSTAFF for Mississippi Opera, and Opera Southwest, Marcello in LA BOHEME for Opera Roanoke and Mississippi Opera, Mercutio in ROMEO ET JULIETTE for Opera Carolina and Connecticut Opera, Falke in Die Fledermaus for Dayton opera, Ping in TURANDOT for Anchorage Opera, and Prince Paul in Offenbach’s LA GRANDE-DUCHESSE DE GÉROLSTEIN for Opera Français de New York (under the baton of Yves Abel), opposite Stephanie Blythe in the title role.
Recent local appearances include: The title role of DON GIOVANNI, Kaiser Uberall in DER KAISER VON ATLANTIS and Marcello in La Boheme for Connecticut Lyric Opera, title role of GIANNI SCHICCHI, Di Luna in IL TROVATORE, Tonio in PAGLIACCI and Enrico in LUCIA DI LAMMERMOOR at Regina Opera & Count Almaviva in LE NOZZE DI FIGARO for Geneva Light Opera.
On the concert stage he has been soloist in Carmina Burana, Faure Requiem for his Carnegie Hall debut, Handel’s Messiah, and the Saint-Saens Oratorio de Noël Elgar’s Coronation Ode with New Jersey City University, and last summer debuted with the Wallingford Symphony for their July 4th Pops concerts, and as soloist in Beethovens 9th symphony.
Mr. Garner has been a member of The Metropolitan Opera extra CHORUS SINCE 2007, WITH OVER 500 performances in operas such as AIDA, BILLY BUDD, BORIS GODUNOV, CARMEN, EUGENE ONEGIN, FIDELIO, GÖTTERDÄMERUNG, MEISTERSINGER, NORMA, OTELLO, PARSIFAL, TURANDOT, AND DON CARLO in both New York and on tour in Japan.
MAESTRO ADRIAN SYLVEEN – CONDUCTOR
Award-winning musician, Adrian Sylveen enjoys a performing career in the United States and Europe. He is a founder and artistic director of the Connecticut Virtuosi Chamber Orchestra (USA) and the Greve Opera Academy and Chamber Music Festival (Italy). He also appears frequently with Teatro Lirico D’Europa (USA) and Camerata Gdynia (Poland). Mr. Sylveen has conducted approximately 35 operatic titles and has an extensive orchestral and oratorio repertoire. He has conducted and performed concerts in the United States, Poland, Italy, Israel, Cuba, Switzerland, Germany, Austria, and the former Soviet Union. Between 2004-2024, Mr. Sylveen was a co-founder, artistic director, and the principal conductor of the Connecticut Lyric Opera. He worked with such ensembles as Israeli Chamber Orchestra, Olsztyn Philharmonic, Elbląg Chamber Orchestra, Classical Orchestra of Piła, (Poland), Holguín Symphony Orchestra (Cuba), Orchestra da Camera di Greve-In-Chianti (Italy), Central Massachusetts Symphony Orchestra, the New Britain Chorale, Chór Akademii Staszica (Piła, Poland), among others. A winner of many prizes in Europe and the United States, he received the American Council for Polish Culture Primus Inter Pares Award from the President of the Republic of Poland and received permanent US residence for “Extraordinary Abilities in the Arts”. Mr. Sylveen holds Master of Music and Artist Diploma degrees from the Yale University School of Music; he is also a graduate of the Paderewski Music Academy in Poznan, Poland (diploma with distinction). During the school years, he had participated in several international Festivals in Weimar, Łancut, Żagań, and others. A dedicated music educator and community activist, Mr.
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Sylveen is on the faculty of the Virtuosi Music Academy and Summer Music Festival, Greve Opera Academy, and works with a community “Moniuszko” Choir. Maestro Sylveen collaborated with many exceptional artists, such as Katia Riccarelli, Carl Tanner, Armando Ariostini, Laura Andreini, Giacomo Benedetti, Eckart Lorenzen, Luca Rinaldi, Theodore Arm, Brunilda Myftaraj, Jorge Pita Carreras, Steven Frederiks, Stefan Szkafarowsky, Neal Larrabee, Dmitri Novgorodsky, Rafael Lewandowski, Andre Anweiler, Martin Bresnik, Jadwiga Kotnowska, Marzena Diakun, Grzegorz Dabrowski, Daniel Borowski, Thomas Labadorf, Michael Gatonska, Volcan Orhon, Robert DeMaine, Erik Rousi, Jakub Polaczyk, and others.
GIORGIO LALOV
ARTISTIC DIRECTOR/STAGE DIRECTOR
SET AND COSTUME DESIGNS
Born in Bulgaria, GIORGIO (Gueorgui) LALOV is the stage director, artistic director and set and costume designer for TEATRO LIRICO D’EUROPA - 1988 to the present. LALOV, has been performing in and directing fullscale opera productions with international casts since his debut at La Scala, Milan at the age of 25. He speaks English, French, Italian, Bulgarian, and Russian fluently. Since 1988, his opera productions have been presented at major venues in France, Belgium Switzerland, Portugal, Spain, the Netherlands, Japan, Germany, Italy, Sicily, Denmark, South America, the Island of Martinique, and the USA including performances for Opera Dijon, France, Opera De Massy, Paris, performances at Salle Pleyel, Paris, Pavillion Baltard, Paris, Okinawa Performing Arts Center in Japan, Tivoli Gardens, Copenhagen, Theatre Carre, Amsterdam, Congresshaus, Zurich, Theatre Trinidade, Lisbon, Teatro Atlantida, Barcelona, Salida de La Compania, Madrid, Teatro Cervantes, Madrid, Teatro Bueno Vallejo, Madrid, Teatro Lope de Vega, Seville, Le Cirque Royale, Brussels, L’Atrium Theatre on the Island of Martinique and over 150 major performing arts venues throughout the USA (including over a dozen American regional opera companies: Syracuse Opera, Opera Rochester, Opera Delaware, Augusta Opera, Palmetto
Opera, Opera New Hampshire, Golden Gate Opera, Springfield Regional Opera, Opera Wichita, Palm Desert Opera Guild, Shreveport Opera, Opera Asheville, Opera Tampa Bay, Gold Coast Opera, CT Lyric Opera, Light Opera NJ, Boheme Opera NJ, and New England Opera Association -. at this time (2025) - well over 5,500 performances worldwide and still going. Mr. Lalov has designed the sets and costumes for and staged full-scale productions of: Puccini’s LA BOHEME, TOSCA and MADAMA BUTTERFLY, Verdi’s LA TRAVIATA, IL TROVATORE, RIGOLETTO, AIDA, and NABUCCO, Mozart’s DON GIOVANNI, LE NOZZE DI FIGARO, and DIE ZAUBERFLOTE, Bizet’s CARMEN, Wagner’s LOHENGRIN, Lehar’s MERRY WIDOW, Donizetti’s LUCIA DI LAMMERMORE and L’ELISIR D’AMORE, STRAUSS DIE FLEDERMAUS, Rossini’s IL BARBIERE DI SIVIGLIA, Mascagni’s CAVALLERIA RUSTICANA, Leoncavallo’s I PAGLIACCI and Mussorgsky’s BORIS GODUNOV, all to outstanding critical acclaim from both European and American critics. Mr. Lalov is also the Artistic Director and GM of New Jersey Ass. of Verismo Opera.
SYNOPSIS OF THE OPERA
ACT I, SCENE 1
At a ball at the ducal court of Mantua, the hunchbacked jester Rigoletto mocks the courtiers cuckolded by the profligate Duke, stirring them to plans of vengeance. Count Monterone appeals to the Duke for the return of his dishonored daughter but is cruelly mocked by Rigoletto. Enraged, Monterone calls down a father’s curse on the terrified jester.
ACT I, SCENE 2
Outside his house, Rigoletto encounters Sparafucile, a professional assassin, but has no need of his services. Rigoletto warns his daughter Gilda to remain concealed in their home. She does not reveal to him that she has fallen in love with a handsome young man she has encountered on her way to church. The object of her affections is the Duke, who appears as soon as Rigoletto has left, bribing Gilda’s nurse to admit him and to speak well of him to Gilda. He tells her he is a poor student. After he leaves, the courtiers come to abduct Gilda, believing her to be Rigoletto’s mistress. They trick Rigoletto into assisting them, assuring him that it is the Countess Ceprano they are abducting from the neighboring house. When he realizes what has happened, he is distraught. He remembers the curse.
INTERMISSION OF 20 MINUTES
ACT II
The courtiers describe their abduction of Gilda to the Duke. He is delighted to discover that she has been brought to his palace and awaits him in his bedroom. Rigoletto now enters, feigning indifference but desperately seeking signs of the whereabouts of his daughter. When he realizes what has happened, he first curses, then pleads with the courtiers for her return, but to no avail. Gilda appears en déshabillé, and Rigoletto swears vengeance on the Duke.
ACT III
Sparafucile’s sister Maddalena has lured the Duke to a remote inn. Rigoletto has paid Sparafucile to kill the Duke and to deliver his body in a sack so that he may himself throw it into the Mincio. Rigoletto brings Gilda with him to spy on the inn, hoping to reinforce the notion that the Duke is not a man of honor in affairs of the heart. Gilda is unimpressed. Rigoletto sends her home to change into men’s clothing for their flight to Verona.
Infatuated with the Duke herself, Maddalena begs her brother to spare him and to murder the jester instead. His sense of professional responsibility offended, Sparafucile refuses, but does go so far as to agree that if anyone else should happen to show up at the inn on this wild and stormy night, he will murder them instead. Gilda, returning and hearing all this, sees her chance to help the man she loves. She boldly walks up to the door of the inn, knocks, is admitted and promptly stabbed and stuffed into the sack for Rigoletto. Rigoletto is just about to throw the sack in the river when he hears the Duke still singing in the inn. Wildly he opens the sack to find his dying daughter, who with her last breath assures him that she will pray for him with her mother in heaven. Again, Rigoletto recalls Monterone’s curse.
UNDERSTANDING VERDI’S RIGOLETTO BY JENNY L. KELLY
Giuseppe Verdi produced RIGOLETTO in 1851. It was a work of profound majesty and visceral strength that began the great middle period of his career. In his early operas, Verdi honored the conventions of Italian opera. With RIGOLETTO, he transformed them. The characters are all drawn with insight and compassion and maintain their musical individuality in ensembles as well as solos, nowhere more imaginatively than in the magnificent last act quartet that captured four voices in a blend of contradictory emotions.
In order to escape Austrian Censorship, which was widespread in Italy at the time, Verdi composed RIGOLETTO, using the play of Victor Hugo entitled ‘The King Amuses Himself.’ By changing the names of Francis I to the Duke of Mantua and Tribouletto to Rigoletto, Verdi was able to disguise frank commentary on a decadent society that would otherwise have been considered a scandal.
Before the opera begins, the Duke of Mantua, an absolute ruler who seduces women as he pleases, and his hunchback court jester, Rigoletto, his accomplice and henchman, have abducted Count Monterone’s daughter, and the unfortunate woman has committed suicide.
As the curtain is raised on Act I, in the court of Mantua, cruel and foolish men and women of pleasure flatter the Duke while dancing. They gossip about Rigoletto, whom they wrongfully suspect is secretly keeping a young lover in his home. The young woman in Rigoletto’s house is in fact his daughter, Gilda, whom he dearly loves. The relationship between father and daughter is at the heart of RIGOLETTO, a motif often revisited in the operas of Verdi, a man who sadly never achieved an estate of happy fatherhood in his own life.
The courtiers conspire with the Duke to play a joke on Rigoletto. Believing that Gilda is Rigoletto’s lover, the womanizing Duke disguises himself and takes advantage of her. Tragically, the naive Gilda falls in love with him. After realizing the Duke has seduced his daughter, Rigoletto tries to cover his despair and anger with jokes, but determines to take revenge and hires Sparafucile, an assassin, to kill the Duke. Rigoletto loses his sense of
life. Gilda was for him the only beam of light among the low passions of his work, which he was forced by nature to do. This dilemma is the “curse” of Rigoletto. Verdi had first intended to entitle the opera THE CURSE but later decided upon RIGOLETTO.
The character of Rigoletto stands at the center of the opera in all his complexity and inconsistency. Deformed in outward appearance, he nonetheless cherishes a secret that makes up the better half of his nature, his emotions as an anxious, loving father. The original play has passages where the spoken word is inadequate to do justice to his feelings. In the opera, the eloquence of song and the intensity of the orchestral sound are essential in projecting the portrayal of the brokenhearted father’s suffering and the complex depiction of his mental conflict. In his notes Verdi wrote “For my part, I would like to see the character shown as deformed and ridiculous in outward appearance, but passionate and full of love within. It is for these qualities that I chose the subject.”
When Gilda understands that her father has hired an assassin to kill the Duke, she decides to die in his place. Disguised as a man, she replaces the Duke. To the play of Victor Hugo, Verdi adds the theme of predestination. Rigoletto is punished first by fate, by his physical deformity, and secondly because of his disgraceful position of “fool” in society. His conspiracy with the criminal Sparafucile and desire for revenge secure his tragic destiny. His beloved daughter dies because of his own assassination order.
The story is a work of art presenting an excellent balance between the light and shadows of human emotions, between drama and comedy, between honesty and deception. As the drama gradually unfolds against this backdrop of contrasts, the truth emerges and the opera concludes with the (predestined) destruction of the unhappy heroes–Rigoletto and Gilda, who symbolically represent man’s relationship to his eternal soul. Rigoletto’s deformity mirrors his internal spiritual crisis and imbalance. He betrays his own heart, resulting in the dissolution of his personality and the loss of his soul.