Organization

Singer

Tenor

Alexey Tatarintsev

The Duke of Mantua

Baritone

Juan Jesús Rodríguez

Rigoletto

Soprano

Sabina Puértolas

Gilda

Bass

Felipe Bou

Sparafucile

Contralto

Sandra Ferrández

Maddalena

Mezzo-soprano

María Lourdes Benítez

Giovanna

Fernando Latorre

The Count of Monterone

Jesús Gómez

Matteo Borsa

David Cervera

The Count of Ceprano

Stage director

Francisco López

Conductor

José María Moreno

Chorus master

María del Mar Muñoz Varo

Olga Bikova

The Countess of Ceprano

Juan Antonio Blanco

A court usher

María Luz Román

A page

Libretto

Francesco Maria Piave

Pau Armengol

Marullo

Teatro Cervantes Malaga

Teatro Villamarta

Others

Coro De ópera De Málaga

Orchestra

Orquesta Filarmónica de Málaga

Málaga

Spain

Teatro Cervantes

Rigoletto Verdi

Public

Approved

With Rigoletto, Verdi initiated the trilogy later completed with La traviata and Il trovatore (1853) and which won him great popularity; works of the middle period of his composing career which would consolidate the mature musical style of the genius of Busseto.
This opera is fundamental in Verdi's work and in the history of opera for many reasons. In Rigotetto, the composer abandoned historical and patriotic subjects in favour of more ethical and existential ones; the usual heroes are not princes or warriors, but rather marginal characters who represent human beings in all their complexity. For the first time, singing is at the service of drama and not vice versa. There is a perfect construction on stage of a powerful story, one of contempt of the powerful towards the weak and of violence and domination of men over women, matters that were bravely presented to the public in 1851: realism and romanticism hand in hand in a score that boasts famous arias, including ‘La donna è mobile’, ‘Questa o quella’, ‘Parmi veder le lagrime’ (Duke of Mantua), ‘Caro nome’ (Gilda), ‘Pari Siamo’ (Rigoletto)–, duets –‘È il sol dell´anima’ (Duke and Gilda), ‘Lassú in cielo’ (Gilda and Rigoletto)– and the sublime quartet ‘Bella figlia dell’amore’ (Duke, Gilda, Rigoletto and Maddalena).
Because of its emotional strength, the vocal role of Rigoletto is one of most important of the lyrical repertoire for baritones. Although it allows singers to showcase their talent, it requires great interpretation skills given the complexity of the character’s emotional evolution.

English

Performance credits (Cast & Crew )

Cast

Crew

Ensemble

Co-Producer