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This new Opera Australia production, directed by Roger Hodgman, of Verdi’s 1851 much loved work replaces the Elijah Moshinsky version and is very exciting . The plot and dramatic structure of Rigoletto is simultaneously sordid and absorbing with its overtones of excess, lasciviousness and its explorations of underlying psychological familial trauma – a story filled with lust, mixed identities and death.
The set designs by Richard Roberts are marvelous, full of russet , autumnal tones, and amazingly rich detail on the heavy doors, as an example. They are wonderfully evocative of Mantua in the 16th Century.
Matt Scott’s vividly atmospheric lighting heightens the mood through the skillful creation of shadows and reflections on the sheer, semi-gloss walls giving a sense of foreboding. For the final scene, Scott shows a slowly growing and bubbling river’s reflection but is hampered by the lack of any real sense of where the river flows in the set. The climactic storm lighting effectively creates dramatic tension. There is interesting use of the revolve and Roger Hodgman’s direction moves the production along at a fast pace.
I do agree, however, with others of my colleagues that even if Tracy Grant Lord’s costumes are viewed for their sumptuous overall effect, it deadens the impact and is greatly confusing having the men dressed so similarly that they cannot be distinguished from each other . The characterisation of the minor male roles, however, seems rather sketchy and underdone in parts.
The quality of the music is excellent. Athletic maestro Renato Palumbo delivers a subtle, yet dynamic rendition of the score, keeping the tempo brisk and impressively supporting the singers with effective pauses where necessary. The Australian Opera and Ballet Orchestra isin fine form too.
Caoduro is tremendous as Rigoletto , the unfortunate court jester and plays the range of the character with deep truth and humour.In some ways it can be seen as a controlled study in sociopathic behaviour, sometimes vulgar ,partially compensated for by his huge, albeit stlfling, love for his daughter Gilda. Although perhaps too young for the title role, Caoduro performs it so wonderfully that this is easily overlooked. Caoduro inhabits the character completely, Rigoletto’s hump appearing to weigh down his whole body, both physically and spiritually. Caoduro expertly cultivates a sympathetic bond with the audience in the Act One solo “Pari siamo!.” Caoduro’s marvelous baritone has an impressively rich, unwavering tone that is delightful.
As Gilda, Rigoletto’s sweet , virtuous , ill-fated daughter. Emma Matthews is a delight to hear. She shines and sparkles and her voice is exquisite. At the performance I attended her ‘Caro Nome ‘ all blushing and feverish, was glorious and stopped the show. Towards the end she is very stylishly dressed in disguise as a young man As well,she also reveals amazing breath control when singing Gilda’s dying words whilst lying in an awkward position. Enjoying riveting stage chemistry with her stage partner Terranova, the pair deliver a wonderful ending to “È il sol dell’anima.
As the playboy Duke, darkly handsome Terranova is in great form . This Verdi character is one of the early predecessors of the ‘Verist’ creations of fin de siècle Italian opera but is perhaps far more complex and therefore more demanding. “La donna è mobile” absolutely brought down the house at this performance One reservation I would mention though is that when he is ‘in disguise’ as Gualtier Maldè ,supposedly a poor student , his outfit is still overly sumptuous , quite a give away . Terranova’s vocal sensitivities are exemplified in his cabaletta and aria from Act Two (Ella mi fu rapita…Parmi veder le lagrime). Not overly dramatic or heavy, his performance glitters with a control and finesse that is beautifully, precisely balanced.
David Parkin is a hulking, vocally menacing and looming presence as assassin Sparafucile, looking as though he could dangerously break his victim rather than stab them. In entire control of his ominous bass, Parkin delivers a sensational luminous final note to his introductory scene as he walks off singing Sparafucile’s name to a feathery pianissimo.
In a visually dramatic and unmissable long plum dress and red mop of curls, Sian Pendry deftly performs the conniving Maddalena with the wicked confidence of a very attractive woman who knows the power and value of her sexuality. Pendry combines her physical characterisation with a luscious, sultry tone to her singing in a beautifully understated performance.
The glorious performances of Terranova, Pendry, Caoduro and Matthews in the act two quartet ‘Bella figlia dell’amore” are ravishing.
An entertaining, solidly performed version that will delight many .
Running time 2hours thirty mins ( approx ) including one interval
RIGOLETTO plays at the Joan Sutherland Auditorium in repertory between 26th June – 24th August.
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