Rigoletto

by Giuseppe Verdi
  • October 2013
    18
    Friday
    20:00 > 23:00
    3 hours
  • October 2013
    20
    Sunday
    20:00 > 23:00
    3 hours
Find out more about the Cast , the Composition , the Composer

Rigoletto

Cast

Press & Reviews

Ieri, Oggi, Domani, Opera
Francesco Lodola e Stefano de Ceglia
ARENA DI VERONA 2017: RIGOLETTO (WITH JESSICA PRATT AND FRANCESCO DEMURO)
This review refers to Rigoletto at Arena di Verona.
Jessica Pratt returned to the Arena with one of her most significant roles, Gilda. And she was a wonderful protagonist: full of rush and emotions. She is capable of supporting both the coloratura (with a gorgeous "Caro Nome") and the dramatic side of the character. What comes out is a fresh, vocally impeccable, portrait. The soprano, famous for the perfection of her high range, performed a series of "puntature", one more beautiful than the other, as the one in the finale of the tempest scene, brilliant for it's focus and precision.
Gli Amici della Musica
Simone Tomei
Great and well-deserved success for the replica of Giuseppe Verdi's 'best work'
This review refers to Rigoletto at Arena di Verona.
Gilda has been masterfully interpreted by Australian soprano, but by now adopted by Italy, Jessica Pratt; an approach to the character done as the great professional she is, has given her the opportunity to show off her wonderful fresh vitality and an interpretative taste out of the ordinary; excellent accents, polished "fraseggio" and precise "messe di voce" always for the right motivation and aimed to the goal of of bringing to light the characteristics of a role not at all easy: the voice is stable, impeccable the tuning as the interaction with the other characters, always with great understanding and vocal blending.
Platea Magazine
Javier Labrada
Rodríguez, Albelo and Pratt star in Opera de Oviedo's Rigoletto
This review refers to Rigoletto at Opera de Oviedo.
...a great success the presence of Jessica Pratt, who has offered us a Gilda of contrasts. Delicate in the beginning and resolute in the finale. Vocally Pratt shows herself as a soprano with nice color, care for phrasing and gifted with a flexible and elaborate third octave. All qualities needed to successfully resolve the role of Gilda, especially in the pages of "Caro Nome" and "Figlia... mio padre!"
Sipario
Federica Fanizza
RIGOLETTO - directed by Ivo Guerra
This review refers to Rigoletto at Arena di Verona.
The undisputed star of the evening was Jessica Pratt's Gilda, a role that she has consolidated and refined in her international career, after her debut in Italy in 2007 with the As.Li.Co circuit. Her Gilda is free from childish gestures, she defines a mature character, conscious of her actions. Here in the Arena she underlined more the lyrical and intimate aspect of the character with a clear and smooth singing line. We can forgive her embellishment in "Caro Nome" but she has been able to calibrate voice and breath to make herself heard on the highest seats of the arena; In the touching confession of "Tutte le feste al tempio", Pratt showed all her true soprano nature with the accurate use of her vocal means. And as always as in the style of the artist, she's been leading in ensembles as in the scene of the third act.

Pablo Siana
The Rigoletto of our days
This review refers to Rigoletto at Opera de Oviedo.
Jessica Pratt... a Gilda that grows like her character, from juvenile love to carnal and resignation. The role agilities are no secret, bright color, with a wide variety of tonalities, a "Caro Nome" of diamond quality, but above all else, a balanced quartet between the two worlds, with her and her father at the gate while the Duke flirts with Maddalena...
Anaclase
KO
Rigoletto by Giuseppe Verdi
This review refers to Rigoletto at Arena di Verona.
Hailed last autumn in Bergamo, Jessica Pratt raised the role of Gilda to heaven! We are blinded by the purity and easiness of the singing line, always based on a solid technique and the great scenic presence of the Australian diva.
La Nueva España
Andrea G. Torres
This review refers to Rigoletto at Opera de Oviedo.
It was a debut at Opera de Oviedo for Jessica Pratt as well, and the Australian soprano, that is taking her place on the international stage, does not disappoint... with clear and cutting high notes, good position and beautiful phrasing.
Connessi all'Opera
Fabio Larovere
Verona, Arena Opera Festival 2017 - Pratt and Demuro in Rigoletto
This review refers to Rigoletto at Arena di Verona.
Jessica Pratt faced with security and determination the role of the naive daughter of the jester, underlining her character and determination, especially when she decides to sacrifice herself for the beloved one. The excellent "belcantista" did not fail to impeccably embroider her aria "Caro nome", executed with all the appropriate "putanture".

The Composition

Rigoletto

Libretto written in italian by Francesco Maria Piave, was first premiered on a Tuesday on March 11 of 1851
Rigoletto is an opera in three acts by Giuseppe Verdi. The Italian libretto was written by Francesco Maria Piave based on the play Le roi s'amuse by Victor Hugo. Despite serious initial problems with the Austrian censors who had control over northern Italian theatres at the time, the opera had a triumphant premiere at La Fenice in Venice on 11 March 1851. It is considered by many to be the first of the operatic masterpieces of Verdi's middle-to-late career. Its tragic story revolves around the licentious Duke of Mantua, his hunch-backed court jester Rigoletto and Rigoletto's beautiful daughter Gilda. The opera's original title, La maledizione (The Curse), refers to the curse placed on both the Duke and Rigoletto by a courtier whose daughter had been seduced by the Duke with Rigoletto's encouragement. The curse comes to fruition when Gilda likewise falls in love with the Duke and eventually sacrifices her life to save him from the assassins hired by her father.
Synopsis
Act 1 Scene 1: A room in the palace of Duke of Mantua Act 1, sc. 1: Victor Hugo's Le Roi s'amuse At a ball in his palace,[25] the Duke sings of a life of pleasure with as many women as possible: "Questa o quella" ("This woman or that"). He has seen an unknown beauty in church and desires to possess her, but he also wishes to seduce the Countess of Ceprano. Rigoletto, the Duke's hunchbacked court jester, mocks the husbands of the ladies to whom the Duke is paying attention, including the Count Ceprano, and advises the Duke to get rid of him by prison or death. The Duke laughs indulgently, but Ceprano is not amused. Marullo, one of the guests at the ball, informs the courtiers that Rigoletto has a "lover", which astonishes them. The courtiers resolve to take vengeance on Rigoletto for making fun of them. The festivities are interrupted by the arrival of the elderly Count Monterone, whose daughter the Duke had seduced. Rigoletto provokes him further by making fun of his helplessness to avenge his daughter's honor. Monterone confronts the Duke, and is immediately arrested by the Duke's guards. Before being led off to prison, Monterone curses Rigoletto for having mocked his righteous anger. The curse terrifies Rigoletto, who is superstitious and, like many people at the time, believes that an old man's curse has real power. Preoccupied with the old man's curse, Rigoletto approaches his house and is accosted by the assassin Sparafucile, who walks up to him and offers his services. Rigoletto declines for the moment, but leaves open the possibility of hiring Sparafucile later, should the need arise. Sparafucile wanders off, after repeating his own name a few times. Rigoletto contemplates the similarities between the two of them: "Pari siamo!" ("We are alike!"); Sparafucile kills men with his sword, and Rigoletto uses "a tongue of malice" to stab his victims. Rigoletto opens a door in the wall and returns home to his daughter Gilda. They greet each other warmly: "Figlia!" "Mio padre!" ("Daughter!" "My father!"). Rigoletto has been concealing his daughter from the Duke and the rest of the city, and she does not know her father's occupation. Since he has forbidden her to appear in public, she has been nowhere except to church and does not even know her own father's name. When Rigoletto has gone, the Duke appears and overhears Gilda confess to her nurse Giovanna that she feels guilty for not having told her father about a young man she had met at the church. She says that she fell in love with him, but that she would love him even more if he were a student and poor. As she declares her love, the Duke enters, overjoyed. Gilda, alarmed, calls for Giovanna, unaware that the Duke had sent her away. Pretending to be a student, the Duke convinces Gilda of his love: "È il sol dell'anima" ("Love is the sunshine of the soul"). When she asks for his name, he hesitantly calls himself Gualtier Maldè. Hearing sounds and fearing that her father has returned, Gilda sends the Duke away after they quickly trade vows of love: "Addio, addio" ("Farewell, farewell"). Alone, Gilda meditates on her love for the Duke, whom she believes is a student: "Gualtier Maldè!... Caro nome" ("Dearest name"). Later, Rigoletto returns: "Riedo!... perché?" ("I've returned!... why?"), while the hostile courtiers outside the walled garden (believing Gilda to be the jester's mistress, unaware she is his daughter) get ready to abduct the helpless girl. They tell Rigoletto that they are actually abducting the Countess Ceprano. He sees that they are masked and asks for a mask for himself; while they are tying the mask onto his face, they also blindfold him. Blindfolded and deceived, he holds the ladder steady while they climb up to Gilda's room: Chorus: "Zitti, zitti" ("Softly, softly"). With her father's unknowing assistance Gilda is carried away by the courtiers. Left alone, Rigoletto removes his mask and blindfold, and realizes that it was in fact Gilda who was carried away. He collapses in despair, remembering the old man's curse. Act 2 The Duke is concerned that Gilda has disappeared: "Ella mi fu rapita!" ("She was stolen from me!") and "Parmi veder le lagrime" ("I seem to see tears"). The courtiers then enter and inform him that they have captured Rigoletto's mistress: Chorus: "Scorrendo uniti" ("We went together at nightfall"). By their description, he recognizes it to be Gilda and rushes off to the room where she is held: "Possente amor mi chiama" ("Mighty love beckons me"). Pleased by the Duke's strange excitement, the courtiers now make sport with Rigoletto, who enters singing. He tries to find Gilda by pretending to be uncaring, as he fears she may fall into the hands of the Duke. Finally, he admits that he is in fact seeking his daughter and asks the courtiers to return her to him: "Cortigiani, vil razza dannata" ("Accursed race of courtiers"). Rigoletto attempts to run into the room in which Gilda is being held, but the courtiers block the way. Gilda enters. The courtiers leave the room, believing Rigoletto has gone mad. Gilda describes to her father what has happened to her in the palace: "Tutte le feste al tempio" ("On all the blessed days"). In a duet Rigoletto swears vengeance against the Duke, while Gilda pleads for her lover: "Sì! Vendetta, tremenda vendetta!" ("Yes! Revenge, terrible revenge!"). Act 3 A street outside Sparafucile's house A portion of Sparafucile's house is seen, with two rooms open to the view of the audience. Rigoletto and Gilda arrive outside. The Duke's voice can be heard singing "La donna è mobile" ("Woman is fickle"), laying out the infidelity and fickle nature of women. Rigoletto makes Gilda realize that it is the Duke who is in the assassin's house attempting to seduce Sparafucile's sister, Maddalena: "Bella figlia dell’amore" ("Beautiful daughter of love"). Rigoletto bargains with the assassin, who is ready to murder his guest for 20 scudi. Rigoletto orders Gilda to put on a man's clothes to prepare to leave for Verona and states that he plans to follow later. With falling darkness, a thunderstorm approaches and the Duke decides to spend the rest of the night in the house. Sparafucile directs him to the ground floor sleeping quarters, resolving to kill him in his sleep. Gilda, who still loves the Duke despite knowing him to be unfaithful, returns dressed as a man and stands outside the house. Maddalena, who is smitten with the handsome Duke, begs Sparafucile to spare his life. Sparafucile reluctantly promises her that if by midnight another victim can be found, he will kill the other instead of the Duke. Gilda, overhearing this exchange, resolves to sacrifice herself for the Duke, and enters the house. Sparafucile stabs her and she collapses, mortally wounded. At midnight, when Rigoletto arrives with money, he receives a corpse wrapped in a sack, and rejoices in his triumph. Weighting it with stones, he is about to cast the sack into the river when he hears the voice of the Duke, sleepily singing a reprise of his "La donna è mobile" aria. Bewildered, Rigoletto opens the sack and, to his despair, discovers his dying daughter. For a moment, she revives and declares she is glad to die for her beloved: "V'ho ingannato" ("Father, I deceived you"). She dies in his arms. Rigoletto cries out in horror: "La maledizione!" ("The curse!")

Giuseppe Verdi

Short biography of the composer
Giuseppe Fortunino Francesco Verdi (9 or 10 October 1813 – 27 January 1901) was an Italian opera composer. Verdi was born near Busseto to a provincial family of moderate means, and developed a musical education with the help of a local patron. Verdi came to dominate the Italian opera scene after the era of Bellini, Donizetti and Rossini, whose works significantly influenced him, becoming one of the pre-eminent opera composers in history. In his early operas Verdi demonstrated a sympathy with the Risorgimento movement which sought the unification of Italy. He also participated briefly as an elected politician. The chorus "Va, pensiero" from his early opera Nabucco (1842), and similar choruses in later operas, were much in the spirit of the unification movement, and the composer himself became esteemed as a representative of these ideals. An intensely private person, Verdi however did not seek to ingratiate himself with popular movements and as he became professionally successful was able to reduce his operatic workload and sought to establish himself as a landowner in his native region. He surprised the musical world by returning, after his success with the opera Aida (1871), with three late masterpieces: his Requiem (1874), and the operas Otello (1887) and Falstaff (1893). His operas remain extremely popular, especially the three peaks of his 'middle period': Rigoletto, Il trovatore and La traviata, and the bicentenary of his birth in 2013 was widely celebrated in broadcasts and performances.

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