Admin

Staatsoper Hannover

Baritone (+2)

Daniel Luis de Vicente

Rigoletto

Soprano (+1)

Francesca Pia Vitale

Gilda

Bass (+3)

Markus Suihkonen

Sparafucile

Mezzo-soprano (+3)

Ruzana Grigorian

Maddalena

Orchestra

The Lower Saxony State Orchestra Hannover

Stage director

Stage director (+3)

Karsten Wiegand

Set designer

Set designer (+1)

Bärbl Hohmann

Costume designer

Moritz Junge

Lighting designer

Claus Ackenhausen

Chorusmaster

Chorusmaster (+1)

Lorenzo Da Rio

Dramaturge

Dramaturge (+3)

Albrecht Puhlmann

Tenor

Mario Rojas

The Duke of Mantua

Bass-baritone (+4)

Frank Schneiders

The Count of Monterone

Baritone (+3)

Eduardo Martinez

Marullo

Mezzo-soprano (+4)

Freya Müller

The Countess of Ceprano

A page

Opernhaus

Chorus

Choir of the Hanover State Opera

Conductor

Mario Hartmuth

Frank Domnick

The Count of Ceprano

Baritone (+1)

Henri Tikkanen

A court usher

Tenor (+1)

Patrick Jones

Matteo Borsa

Bass (+2)

Marek Durka

Tenor (+3)

Mohsen Rashidkhan

Masaru Kumakura

Jae Wook Yoo

A disfigured, cynical entertainer at the mercy of the benevolence of the powerful, a father who frantically keeps his adolescent daughter hidden, a humiliated outsider who, in his craving for revenge, triggers the very tragedy that will cost his daughter’s life – the tale of Rigoletto, who tries in vain to hide his daughter Gilda from the world and from an aristocratic seducer, is one of the great stories of musical theatre.

Gilda has already fallen for the enticing Duke. When his henchmen kidnap the girl, her father Rigoletto sees red. He pays professional hitman Sparafucile to kill the Duke and plans to flee the city with Gilda in secret. But Gilda defies her father’s wishes and goes to the location where the Duke is to be killed on this stormy night of thunder and lightning.

Ever since its triumphant world premiere at Venice’s Teatro La Fenice in 1851, Rigoletto has quite rightly enjoyed an unbroken history of performances at opera houses across the world. Verdi’s breath-taking composition outlines the characters in enchanting vocal lines and subtle configurations of the orchestra: a profound musical drama with psychologically sophisticated characters and situations. Director Karsten Wiegand places the title character’s inner drama at the centre of his staging. Rigoletto has been degraded, a clown to be sneered at by a pleasure-seeking class with no empathy, dancing at the edge of the abyss, a farce, a caricature of themselves.

Ljósmyndir