Name: Rigoletto
Start: 2015-03-15T00:00:00.000Z
End: 2015-06-26T00:00:00.000Z
Location: Musiktheater im Revier

Organization

Tenor

Hongjae Lim

The Duke of Mantua

Baritone

Aris Argiris

Rigoletto

Soprano

Alfia Kamalova

Gilda

Tomas Möwes

The Count of Monterone

Bass

Jacoub Eisa

The Count of Ceprano

Mezzo-soprano

Almuth Herbst

The Countess of Ceprano

Giovanna

Contralto

Maddalena

Noriko Ogawa-Yatake

Christian Henneberg

Marullo

Philipp Werner

Matteo Borsa

Dong-Won Seo

Sparafucile

A court usher

A page

Conductor

Rasmus Baumann

Stage director

Michael Schulz

Costume designer

Renée Listerdal

Set designer

Kathrin-Susann Brose

Valtteri Rauhalammi

Thomas Rimes

Chorus master

Christian Jeub

Dramaturge

Anna Grundmeier

Musiktheater im Revier

Gelsenkirchen

Germany

Rigoletto Verdi

Public

Approved

Instrumentalist

Pianist

Violinist

Cellist

Violist

Flutist

Clarinetist

Guitarist

Organist

Percussionist

hornist

Oboist

Bassoonist

Trumpeter

Contrabassist

Trombonist

Harper

Saxophonist

Harpsichordist

Bassist

Accordionist

Tuba Player

Recorder Player

Lutenist

Tenor Violinist

Timpani

Mandoline Player

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Violino Piccolo Player

Viola da gamba

Musette de cour Player

Viola Pomposa Player

Archlutenist

Vibraphonist

Cornettist

Viola d’amore Player

Theorbist

Composer

Librettist

Choreographer

Lighting designer

Dancer

Actor

Video designer

Translator

Sound designer

Repetiteur

Makeup artist

Executive producer

Hairstylist

Other

Stage Manager

Choir

Orchestra

Poet

Vocal coach

Teacher

Photographer

Broadcasting

Illustrator

Writer

Writing and performance

Chorus Director

Wig & Makeup Designer

Orchestra Operations

Extra

Countertenor

Singer

Bass-baritone

Spoken

Child vocalist

Silent

Alto

Continuo

Mit grimmigen Pointen befeuert Rigoletto, der Hofnarr des Herzogs von Mantua, die amourösen Eskapaden seines adligen Brotherrn. Gehasst für seine brutalen Scherze und verspottet für seinen missgestalteten Körper, ist er bei Hofe ein Außenseiter. Eine willkommene Sonderstellung, die er durch kalkulierte Grobheiten gezielt zu behaupten versucht, glaubt er doch, dadurch sein privates Glück vor den Übergriffen des Herzogs bewahren zu können: Gilda, seine einzige Tochter und einziger Lebenssinn, hält er zu Hause sorgsam vor den lüsternen Blicken des Hofes verborgen. Doch längst haben Gerüchte die Runde gemacht, Rigoletto verstecke daheim eine junge Geliebte. Eine Gruppe von Höflingen beschließt, sie für den Herzog zu entführen, um sich für die durch den Narren erlittenen Demütigungen zu rächen. Den überraschend heimkehrenden Rigoletto täuschen sie über die wahre Identität ihres Opfers und können den Ahnungslosen sogar dazu überreden, ihnen beim Raub seiner eigenen Tochter zu helfen. Zu spät erkennt Rigoletto die Verschwörung. Im Herzogspalast fordert der verzweifelte Vater die Herausgabe des entehrten Mädchens, doch Gilda selbst widersetzt sich der Rückkehr in die häusliche Gefangenschaft: Zur Lebensunkenntnis erzogen, glaubt sie an die wahre Liebe jenes Mannes, der ihr seit langem schon unter falschem Namen den Hof macht. In einem zwielichtigen Wirtshaus enthüllt Rigoletto seiner Tochter den wahren Charakter ihres untreuen Geliebten und weist sie an, in Männerkleidung die Stadt zu verlassen. Einen Mörder beauftragt er mit der Tötung des Herzogs. Doch der Leichnam, der ihm übergeben wird, ist nicht der des Adligen …
Giuseppe Verdis erschütterndes Operndrama „Rigoletto“ gehört auch 163 Jahre nach seiner Uraufführung zum Standardrepertoire des modernen Musiktheaters. Das Psychogramm eines Ausgestoßenen, der sich in der Öffentlichkeit „zum Narren machen“ lässt, um im Privaten sein Glück zu behaupten, wirkt gleichermaßen als Lehrstück antiker Tragödienhandlung wie auch als höchst aktuelle Parabel über die gefährlichen Mechanismen medialer Selbstinszenierung. Mit sicherem dramatischen Instinkt wählte der Theaterpraktiker Verdi die Erzählung „Le Roi s’amuse“ von Victor Hugo zur Grundlage seines neuen Auftragswerkes, die sein bewährter Librettist Francesco Maria Piave fast wortgetreu zu einem Operntext verdichtete. Das Stück bildet den Auftakt der so genannten „Trilogia popolare“, einer Musiktheatertrilogie über soziale Grenzgänger, zu der neben „Rigoletto“ auch seine zwei Jahre später uraufgeführten Welterfolge „Il Trovatore“ und „La Traviata“ zählen. Michael Schulz erzählt Verdis berührendes Außenseiter-Drama für die Große Bühne des MiR.

Deutsch

Rigoletto, the court jester of the Duke of Mantua, fuels the amorous escapades of his noble master with grim punch lines. Hated for his brutal quips and ridiculed for his misshapen body, he is an outsider at court. A welcome special position, which he tries to maintain through calculated rudeness, as he believes he can protect his private happiness from the duke's encroachments: Gilda, his only daughter and only purpose in life, he carefully keeps at home from the lascivious looks of the duke court hidden. But rumors have long been circulating that Rigoletto is hiding a young lover at home. A group of courtiers decide to kidnap her for the duke to avenge the humiliations suffered at the hands of the jester. They deceive Rigoletto, who returns surprisingly home, about the true identity of their victim and are even able to persuade the unsuspecting man to help them steal his own daughter. Rigoletto recognizes the conspiracy too late. In the ducal palace, the desperate father demands the return of the dishonored girl, but Gilda herself resists returning to domestic captivity: brought up to be ignorant of life, she believes in the true love of the man who has long been courting her under a false name. In a seedy inn, Rigoletto reveals to his daughter the true nature of her unfaithful lover and instructs her to leave town in male clothes. He hires a murderer to kill the duke. But the corpse given to him is not that of the nobleman... Rigoletto recognizes the conspiracy too late. In the ducal palace, the desperate father demands the return of the dishonored girl, but Gilda herself resists returning to domestic captivity: brought up to be ignorant of life, she believes in the true love of the man who has been courting her under a false name for a long time. In a seedy inn, Rigoletto reveals to his daughter the true nature of her unfaithful lover and instructs her to leave town in male clothes. He hires a murderer to kill the duke. But the corpse given to him is not that of the nobleman... Rigoletto recognizes the conspiracy too late. In the ducal palace, the desperate father demands the return of the dishonored girl, but Gilda herself resists returning to domestic captivity: brought up to be ignorant of life, she believes in the true love of the man who has been courting her under a false name for a long time. At a seedy inn, Rigoletto reveals to his daughter the true nature of her unfaithful lover and instructs her to leave town in male clothes. He hires a murderer to kill the duke. But the corpse given to him is not that of the nobleman... Raised to be ignorant of life, she believes in the true love of the man who has long been courting her under a false name. In a seedy inn, Rigoletto reveals to his daughter the true nature of her unfaithful lover and instructs her to leave town in male clothes. He hires a murderer to kill the duke. But the corpse given to him is not that of the nobleman... Raised to be ignorant of life, she believes in the true love of the man who has long been courting her under a false name. In a seedy inn, Rigoletto reveals to his daughter the true nature of her unfaithful lover and instructs her to leave town in male clothes. He hires a murderer to kill the duke. But the corpse given to him is not that of the nobleman...
Giuseppe Verdi's harrowing opera drama "Rigoletto" is still part of the standard repertoire of modern music theater 163 years after its premiere. The psychogram of an outcast who allows himself to be “made a fool” of in public in order to assert his happiness in private is both a lesson in ancient tragic plots and a highly topical parable about the dangerous mechanisms of media self-portrayal. With a sure instinct for drama, the theatrical practitioner Verdi chose Victor Hugo's story “Le Roi s'amuse” as the basis for his new commissioned work, which his proven librettist Francesco Maria Piave condensed almost verbatim into an opera text. The piece marks the beginning of the so-called "Trilogia popolare", a music theater trilogy about social border crossers, which, in addition to "Rigoletto", also includes his worldwide successes "Il Trovatore" and "La Traviata", which premiered two years later. Michael Schulz tells Verdi's touching outsider drama for the main stage of the MiR.en

English

Rigoletto by Verdi, ig. 21 eka. 2015, Noiztik (2015/2015), Zuzendaria Michael Schulz,, Zuzendaria Rasmus Baumann, Valtteri Rauhalammi, Thomas Rimes, Musiktheater im Revier, Gelsenkirchen, Germany

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