Organization

Baritone

Vladimir Tselebrovsky

Rigoletto

Gevorg Grigoryan

The Count of Monterone

Tenor

Leonty Salienski

Matteo Borsa

Contralto

Larisa Pominova

Maddalena

Bass

Alexander Koryakov

The Count of Ceprano

Mezzo-soprano

Sofia Nekrasova

The Countess of Ceprano

Andrey Zemskov

Sparafucile

Ivan Sapunov

Marullo

Victoria Martemyanova

Giovanna

Responsible accompanist

Nina Zhukovskaya

Props

Victor Grigoriev

Singer

Yaramir Nizamutdinov

The Duke of Mantua

Yuri Borshchev

Soprano

Svetlana Arzumanova

Gilda

Olesya Gordeyeva

Natalya Vorobyova

Evgenii Baev

Elena Tikhonova

Natalya Kochubey

A page

Stage director

Yuri Alexandrov

Tatyana Karpacheva

Natalya Chernikova

Conductor

Maxim Valkov

Alexander Goikhman

Lighting designer

Dzhalil Martazin

Costume designer

Vera Marinina

Set designer

Lyudmila Goncharova

Chorus master

Igor Pototskiy

St Petersburg Chamber Opera

itāļu

Saint Petersburg

Russia

Baron Fon Derviz Mansion (St Petersburg Chamber Opera)

Public

Approved

Rigoletto Verdi

"St. Petersburg Opera" shows the performance on the stage of the Hermitage Theatre. The performance is a nominee for the national theater award of Russia "Golden Mask". Yuri Alexandrov's production boldly destroys the stereotypes that have developed over the centuries of the theatrical life of one of Verdi's most popular operas. The motif of the mask, the sinister masquerade of life, becomes the main thing in the performance of the theater. Verdi considered the plot of "Rigoletto", borrowed from Hugo's drama "The King Amuses", the best of all that he set to music. For the first time in the history of the genre, the hero of the opera was an old hunchback - a court jester, a hypocrite, embittered at the whole world. He ruthlessly takes revenge on everyone who does not have a hump on his back. The director offered the public a new version of the psychological drama, according to which the court jester is not at all a hunchback, but a caustic, intelligent, evil and not at all an old man. The hump and mask are just a jester's guise, which he puts on only at the duke's court. However, moral ugliness cannot be thrown off like a mask. An extraordinary person, forced to endure constant humiliation, he entertains himself with intrigues, willingly takes part in the dirty amusements of his master and his entourage. Fate punishes Rigoletto for cruelty, turning his daughter Gilda into a murderer. Luxurious, exquisite costumes seem to immerse the viewer in a historical atmosphere. It seems that the characters of the performance, dressed in expensive fabrics and whimsical masks, seem to have descended from the canvases of old masters. The performance is very solid, with details thought out to the smallest detail, and simply beautiful. And the acting and excellent musical performance correspond to the intention of the composer himself - the creator of the genre of musical drama.https://vk.com/spbopera

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The production by Yuri Alexandrov boldly destroys the cliches that have developed over the centuries of theatrical life of one of the most popular operas by Verdi. The main theme in the theater performance is the motive of the mask, the ominous masquerade of life. 
Verdi considered the plot of "Rigoletto", borrowed from Hugo's drama "The King Amuses", the best of all, set to music. For the first time in the history of the genre, the hero of the opera was an old hunchback - a court jester, a hypocrite, embittered by the whole world. He ruthlessly takes revenge on everyone who does not have a hump on their back. 
The director offered the public a new version of the psychological drama, according to which the court jester is not a hunchback at all, but a sarcastic, intelligent, evil and not at all old man. The hump and the mask are just a buffoonery, which he wears only at the court of the duke. However, moral ugliness cannot be thrown off like a mask. An extraordinary person, forced to endure constant humiliation, he entertains himself with intrigues, willingly takes part in the dirty fun of his master and his entourage. Fate punishes Rigoletto for his cruelty, turning his own daughter Gilda into a murderer. 
Luxurious, exquisite costumes seem to immerse the viewer in the historical atmosphere. It seems that the characters of the play, dressed in expensive fabrics and whimsical masks, seem to have come off the canvases of old masters. The performance is very integral, with well-thought-out details, and simply beautiful. And the acting and excellent musical performance correspond to the intention of the composer himself - the creator of the genre of musical drama.

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