Rigoletto – Verdi’s Masterpiece of Music and Drama

Rigoletto, Giuseppe Verdi’s celebrated opera, never fails to pierce the soul with its rich emotional intensity and musical brilliance. The production I attended, staged by the Chicago Lyric Opera, running from now until October 6 is an extraordinary embodiment of this 19th-century classic, full of power, passion, and pathos. With its unforgettable arias, memorable, if one-dimensional characters, and timeless themes of fate, vengeance, and love, this production of Rigoletto captivates from start to finish.

Set against the traditional backdrop of the Renaissance, this production offered opulent costumes and imposing, revolving scenery that perfectly captured the period and various scene changes. From the opulent frescoes in the Duke’s palace bumping up the hedonism of his court and the stark abode of Rigoletto emphasizing his poverty and containing the one thing he valued, his beloved daughter, Gilda, the sets were nearly an additional character in this production.

With a story so problematic, basically men using the bodies of women as instruments of revenge and torment for one another, the opera’s director Mary Birnbaum attempted to focus on the absence of women and women’s agency to try to give Gilda a slightly more logical through-line. The text really does not support it in any way, though. The story remains horrific if you think about it, but there’s so much superb music and strong performances going on in this production, that you can mostly handwave. Mostly.

Igor Golovatenko, last seen at the Lyric in the role of Rodrigue in Don Carlos, gave us a Rigoletto that was the perfect mix of pathos and vindictiveness. His voice, a rich and resonant baritone, filled the opera house with a mix of anger, pain, and vulnerability. The famous aria “Cortigiani, vil razza dannata”, where Rigoletto furiously confronts the courtiers who have abducted his daughter, was a standout. But it’s when he was singing with the exceptional Mané Galoyan that both truly shone.  Their voices blended perfectly, showing off both the complexity and beauty of Verdi’s compositions.

Verdi’s score is full of exceptional melodies and Gildas are judged by their “Caro nome”, the aria where she dreams of the Duke, oblivious to his true nature. In Galoyan’s capable hands each note seemed to shimmer, capturing the purity of Gilda’s infatuation. And kudos to Galoyan for singing portions while nearly lying face down on her pallet in Rigoletto’s poor apartment. 

The Duke, portrayed by Javier Camarena, was immensely charming.  While you couldn’t actually see why literally every one-dimensional woman in the story is immediately smitten by his obvious “wooing”, Camarena has the charisma and the chops to carry this role in spades. His “La donna è mobile” was delivered with the kind of carefree arrogance that defines the character. Vocally, he moved with ease through the Duke’s florid passages, his voice light but full of charm.

Sparafucile, the assassin, and his sister Maddalena, portrayed by Soloman Howard and Zoie Reams added a sinister edge to the production. Sparafucile’s low, rumbling voice brought a chilling gravitas to his scenes, particularly in his duet with Rigoletto, “Pari siamo!” Meanwhile, Maddalena’s earthy mezzo added a seductive, dangerous energy to her brief but critical scenes with the Duke.  The quartet of Camarena, Reams, Galoyan and Golovatenko in Act III was yet another moment of absolute musical glory in this production.

The orchestra, under the baton of Enrique Mazzola was in fine form, bringing Verdi’s score to life with precision and passion. The Lyric’s superb musicians all worked in perfect harmony to heighten the emotional stakes of the drama.

This Rigoletto was a production of remarkable depth and sensitivity, offering an incredibly adept interpretation of Verdi’s dark masterpiece. The singing was of the highest caliber, and the orchestral accompaniment was both powerful and nuanced, serving as the emotional heartbeat of the opera. The direction and staging was nothing notable, but served the story well enough.  Most of the heavy lifting was done by the revolving set and not the blocking.

With some of Verdi’s most memorable melodies, Rigoletto remains an opera for the ages, and this production is exceptional in delivering on this, its most important aspect. You should go to the Lyric Opera to see, or even better, hear it before it is gone.

Tickets are available at the Lyric Opera Box Office.

All photos by Todd Rosenberg

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