Organization

Festival Verdi

Zanger

Tenor

Francesco Demuro

Hertog van Mantua

Baritone

Leo Nucci

Rigoletto

George Gagnidze

Soprano

Desirée Rancatore

Gilda

Nino Machaidze

Bass

Marco Spotti

Sparafucile

Contralto

Stefanie Irányi

Maddalena

Mezzo-soprano

Katarina Nikolic

Giovanna

Roberto Tagliavini

Graaf van Monterone

Orazio Mori

Marullo

Mauro Buffoli

Matteo Borsa

Ezio Maria Tisi

Graaf van Ceprano

Alessandro Bianchini

Deurwaarder

Dirigent

Massimo Zanetti

Regisseur

Stefano Vizioli

Set designer

Pier Luigi Samaritani

Alessandro Ciammarughi

Kostuum ontwerper

Koor meester

Martino Faggiani

Scilla Cristiano

Gravin van Ceprano

Pagina van de hertogin

Others

Coro del Teatro Regio di Parma

Teatro Regio di Parma

Orchestra

Orchestra del Teatro Regio di Parma

Italiaans

Parma

Italië

Teatro Regio

With their effective scenes, the plays by the French dramatist Victor Hugo (1802-1885) inspired many composers to set them to music; Today, Hugo's stage works are alive outside of France, primarily through operas such as "Rigoletto", "Lucrezia Borgia", "La Gioconda" or "The Hunchback of Notre-Dame" and "Les Misérables" as films and musicals.
Seven years before "Rigoletto" (after Hugo's "Le Roi s'amuse"), Giuseppe Verdi set Hugo's play "Hernani", an adventure story about love, revenge, death and disguise, to music. "Ernani", premiered in March 1844, was Verdi's first opera for the Teatro La Fenice in Venice; this was followed by "Attila" (1846), "Rigoletto" (1851), "La Traviata"

The misshapen court jester Rigoletto knows how to incite his vicious master, the Duke of Mantua, to ever new amorous adventures. No beauty is safe from his pursuits, and not even the ladies of the court are off-limits to the noble lecher. Rigoletto heightens the malice by mocking the families whose daughters have been seduced with his taunts. Rigoletto doesn't seem to mind the contempt that is bestowed on him everywhere. He only becomes concerned when the father of a victim curses him for his wickedness - because the fool also has a daughter: the pretty Gilda. Fate takes its course, and Rigoletto ends up falling victim to his own intrigues when he unwittingly hands his own daughter into the hands of the Duke. Desperate, he swears revenge.
No other composer has gone through such a great artistic development as Giuseppe Verdi. The operatic history of the 19th century can be traced in an exemplary way by looking at the immense creative breadth from "Oberto" to "Falstaff". The name Verdi became synonymous with Italian opera. He could represent all human feelings in the melody, relaxed the rigid alternation between scene and aria, used the singing voice effectively and had a feeling for gripping drama. His work fascinates the tourists in the Arena di Verona as well as the modern music theater directors, whose updates prove how much work of interpretation a good work of art can take.
The musician Verdi set new standards in opera, the politician Verdi was committed to the unity and independence of his homeland; the prisoner's chorus from "Nabucco" is considered the secret Italian national anthem. The financier Verdi knew how to capitalize on his talent, the patron Verdi founded the famous retirement home for musicians in Milan. And yet, as he said himself, he remained a farmer who felt most at home on his estate. No wonder that for a time almost no composer could get past Verdi when venturing into the field of opera. "Verdisation of the young" was what Eduard Hanslick mockingly called this phenomenon, which only came to an end with Puccini, Verismo and the successors to Wagner.

Rigoletto Verdi

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With their effective scenes, the plays by the French dramatist Victor Hugo (1802-1885) inspired many composers to set them to music; Today, Hugo's stage works are alive outside of France, primarily through operas such as "Rigoletto", "Lucrezia Borgia", "La Gioconda" or "The Hunchback of Notre-Dame" and "Les Misérables" as films and musicals.
Seven years before "Rigoletto" (after Hugo's "Le Roi s'amuse"), Giuseppe Verdi set Hugo's play "Hernani", an adventure story about love, revenge, death and disguise, to music. "Ernani", premiered in March 1844, was Verdi's first opera for the Teatro La Fenice in Venice; this was followed by "Attila" (1846), "Rigoletto" (1851), "La Traviata"

The misshapen court jester Rigoletto knows how to incite his vicious master, the Duke of Mantua, to ever new amorous adventures. No beauty is safe from his pursuits, and not even the ladies of the court are off-limits to the noble lecher. Rigoletto heightens the malice by mocking the families whose daughters have been seduced with his taunts. Rigoletto doesn't seem to mind the contempt that is bestowed on him everywhere. He only becomes concerned when the father of a victim curses him for his wickedness - because the fool also has a daughter: the pretty Gilda. Fate takes its course, and Rigoletto ends up falling victim to his own intrigues when he unwittingly hands his own daughter into the hands of the Duke. Desperate, he swears revenge.
No other composer has gone through such a great artistic development as Giuseppe Verdi. The history of opera in the 19th century can be followed in an exemplary manner by looking at the immense range of works from "Oberto" to "Falstaff". The name Verdi became synonymous with Italian opera. He could represent all human feelings in the melody, relaxed the rigid alternation between scene and aria, used the singing voice effectively and had a feeling for gripping drama. His work fascinates the tourists in the Arena di Verona as well as the modern music theater directors, whose updates prove how much work of interpretation a good work of art can take.
The musician Verdi set new standards in opera, the politician Verdi was committed to the unity and independence of his homeland; the prisoner's chorus from "Nabucco" is considered the secret Italian national anthem. The financier Verdi knew how to capitalize on his talent, the patron Verdi founded the famous retirement home for musicians in Milan. And yet, as he said himself, he remained a farmer who felt most at home on his estate. No wonder that for a time almost no composer could get past Verdi when venturing into the field of opera. "Verdisation of the young" was what Eduard Hanslick mockingly called this phenomenon, which only came to an end with Puccini, Verismo and the successors to Wagner.

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