Name: Rigoletto
Start: 2016-04-09T00:00:00.000Z
End: 2016-05-30T00:00:00.000Z
Location: Opéra Bastille

Admin

Organization

Singer

Tenor

Michael Fabiano

The Duke of Mantua

Francesco Demuro

Baritone

Quinn Kelsey

Rigoletto

Soprano

Olga Peretyatko

Gilda

Irina Lungu

Bass

Rafał Siwek

Sparafucile

Andrea Mastroni

Contralto

Vesselina Kasarova

Maddalena

Mezzo-soprano

Isabelle Druet

Giovanna

Mikhail Kolelishvili

The Count of Monterone

Michal Partyka

Marullo

Christophe Berry

Matteo Borsa

Tiago Matos

The Count of Ceprano

Andreea Soare

The Countess of Ceprano

Adriana González

A page

Florent Mbia

A court usher

Conductor

Nicola Luisotti

Pier Giorgio Morandi

Stage director

Claus Guth

Costume designer

Christian Schmidt

Set designer

Chorus master

Opéra National de Paris

Orchestra

Paris Opera Orchestra

itāļu

Paris

France

Opéra Bastille

Rediscover a monumental moment in Verdi's oeuvre: the immortal  Rigoletto ! In this eye-catching production staged by Claus Guth at Paris's Opéra Bastille, soloists Quinn Kelsey (Rigoletto), Olga Peretyatko (Gilda), Michael Fabiano (the Duke of Mantua), and Rafal Siwek (Sparafucile) put their incredible talents to captivating use. To revisit this well-known opera, Guth recounts the story from the point of view of an aged Rigoletto, a clown past his prime, who watches his memories pass before his eyes as he looks back on his life. The set design by Christian Schmidt and Olaf Winter's careful lighting create an imposing, chilly, and implacable ambiance, perfect for the melodrama unfolding onstage. The Choir and Orchestra of the Paris Opera, under the baton of Nicola Luisotti, offer up a powerful interpretation of this timeless work.

Rigoletto Verdi

Public

franču

angļu

Approved

Rigoletto, du 11 avril au 30 mai 2016 à l’Opéra Bastille. Claus Guth signe une nouvelle mise en scène du chef-d’œuvre de Giuseppe Verdi, pour sa première col...

"Gentlemen, give an old man back his daughter. To give her back will cost you nothing, my daughter is all I have in this world. Have pity, gentlemen, have pity."

    - Rigoletto, Act II


“Oh! Victor Hugo’s Le Roi s’amuse is the greatest subject, and perhaps the greatest drama of modern times. It’s a work worthy of Shakespeare!” A few months before he wrote those words to Francesco Maria Piave urging him to “turn Venice upside down and persuade the Censor to authorise the subject” – no easy matter given that moral values would be easily offended – Verdi was working on an adaptation of King Lear. No doubt, he was already imbued with the play by his revered master, Shakespeare, when he read Victor Hugo's drama. On discovering in the works of the French writer to whom he would owe Ernani, the greatest triumph of his “difficult years”, a parallel with the triangle formed by the King, his daughter and the jester, it was “like a thunderbolt, an inspiration”.

Between the frivolous, licentious Duke, and Gilda, a victim of the ignorance which holds her captive, stands the double-faceted character of the hunchback, both buffoon and curse-obsessed father. Monstrous and heartrending, grotesque and sublime, the title role reaches its apogee in the aria “Cortigiani, vil razza dannata”, whose descending movement, from the explosion of rage to the moment of entreaty, confirms the composer’s ability to adapt a form inherited from bel canto to theatrical realism. Under the baton of Nicola Luisotti, this new production of Rigoletto marks director Claus Guth’s first collaboration with the Paris Opera.

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