Organization

Chanteur

Baryton

Amartuvshin Enkhbat

Rigoletto

Mise en scène

John Turturro

Direction d'orchestre

Daniel Oren

Décors

Francesco Frigeri

Costumes

Marco Piemontese

Ténor

Iván Guillermo Ayón Rivas

Le duc de Mantoue

Lumières

Alessandro Carletti

Chorégraphie

Giuseppe Bonanno

Direction de choeur

Denis Segond

Basse

Rubén Amoretti

Sparafucile

Contralto

Sarah Laulan

Maddalena

Mezzo-soprano

Caroline De Mahieu

Giovanna

Patrick Bolleire

Le Comte Monterone

Alexander Marev

Matteo Borsa

Margaux de Valensart

La Comtesse Ceprano

Sebastian Catana

Soprano

Enkeleda Kamani

Gilda

Ivan Thirion

Le Chevalier Marullo

Benoît Delvaux

Le Comte Ceprano

Benoît Scheuren

Un Huissier

Giuseppe Gipali

Jodie Devos

Lucie Kaňková

Opéra Royal de Wallonie - Liège

Teatro Massimo di Palermo

Others

Choeur de l'Opéra Royal de Wallonie-Liège

Choeur du Conservatoire Royal de Liège

Orchestra

IMEP

Royal Opera of Wallonia Orchestra

italien

Liège

Belgique

Palais Opéra

Public

Valide

Opera Royal de Wallonie - Liège, Belgium

Rigoletto - Gilda

" Oh ! The King is having fun is the greatest story and perhaps the most beautiful drama of modern times. Triboulet is a character worthy of Shakespeare! So shake up Venice from top to bottom and get the censorship to accept the subject. "- VERDI, LETTER TO PIAVE, MAY 8, 1850

The immense success of Rigoletto when it was founded in 1851 has never been denied since. An absolute masterpiece, this is indeed, as Verdi foresaw, an inescapable drama to be seen and re-examined without moderation! First part of the “Popular Trilogy” shortly before La Traviata and Il Trovatore , Rigoletto, according to Victor Hugo, was the object of a rejection by the intractable Venetian censorship forcing librettist and composer to completely review their work. This passionate masterpiece where hatred, violence, love, curse and revenge come together, distills sublime music, the first part of a new style combining theatrical realism and melodic seduction. The famous aria, “La Donna è mobile”, is only the tip of the iceberg and the hits are happily linked throughout the work. Aware of the effectiveness of his melodies and to avoid plagiarism, Verdi had even forbidden the singers to hum them outside the theater ...

English

Crédits de représentation (Distribution et équipe de production )

Distribution

Équipage

Ensemble

Coproducteur