Organization

Direction d'orchestre

Hristo Ignatov

Mise en scène

Kuzman Popov

Décors

Maria Dimanova

Costumes

Lora Marinova

Direction de choeur

Malina Hubcheva

State Opera Varna

Rigoletto

Varna

Bulgarie

Rigoletto Verdi

Public

Valide

Accordionist

Instrument

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da Gambist

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Acteur

Autre

Choeur

Chorus Director

Chorégraphie

Coach vocal

Coiffure

Compositeur

Danse

Diffusion

Dramaturgie

En charge de la production

Extra

Illustrator

Livret

Lumières

Maquillage

Orchestra Operations

Orchestre

Photographer

Poet

Prof

Répétiteur

Stage Manager

Traduction

Video

Wig & Makeup Designer

Writer

Writing and performance

Ténor

Chanteur

Basse

Contre-ténor

Contralto

Mezzo-soprano

Baryton

Baryton-basse

Soprano

Alto

Continuo

Rôle muet

Rôle parlant

Voix d'enfant

The opera Rigoletto is an ingenious translation into the language of the opera performance of Victor Hugo's drama The King Has Fun.

Having caused a wide public response with its sharp social connotations and openly anti-monarchist idea, Hugo's play was banned immediately after its premiere in 1831.

Censorship declared it obscene and immoral, and the title inadmissible.
Deeply moved by Hugo's play, Verdi himself devised a plan for the opera, developed the main dramatic positions, and considered the characters. Under his direction, Francesco Piave created the libretto, in which Hugo's text was significantly shortened.

In the historical work, with extensive mass scenes and numerous details of life and everyday life in the court of French King Francis I, Verdi is attracted primarily by the psychological drama of the characters.
That is why the plot of the opera acquires a more chamber sound with an emphasis on the personal relationships of the characters, placed in aggravated to the extreme psychological situations. Verdi began work on the opera in 1850.
In the beginning, he intends to title his work "The Curse", because according to Hugo's plan, in the curse of the father of the girl disgraced by the king is the connection of the drama. The king and his jester are cursed. But the curse does not catch up with the immoral king - he continues to indulge in his frivolous pleasures with impunity. As is often the case in romantic plots, the victims of fate are those who deserve the least punishment.

Due to censorship, Verdi and Piave were forced to make some changes to the libretto. The action is transferred from Paris to the small Italian province of Mantua, the French king is replaced by the nameless Duke of Mantua, Tribule becomes Rigoletto, and Blanche - Gilda. But these changes are not able to destroy the meaning and ideological essence of the drama.

The dynamic, theatrically grateful plot allows Verdi's dramatic talent to be fully expressed.
It seems to me that the most theatrically active plot on which I have written music is "Rigoletto".
There are terrible events, sharp contrasts, temperament, pathos! ”- the composer shares.

English

Rigoletto by Verdi, Du (1998/1998), Dirigé par Kuzman Popov,, Chef d'orchestre Hristo Ignatov

Crédits de représentation (Distribution et équipe de production )

Équipage

Programme, À Propos & Synopsis

Photos

Lectures complémentaires

Dates et lieux de représentation

Salles