Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Die Walküre, Opera North

A day is now a very long time indeed in politics; would that it were otherwise. It certainly is in the Ring, as we move forward a generation to Die Walküre.

Early Gluck arias at the Wigmore Hall

If composers had to be categorised as either conservatives or radicals, Christoph Willibald Gluck would undoubtedly be in the revolutionary camp, lauded for banishing display, artifice and incoherence from opera and restoring simplicity and dramatic naturalness in his ‘reform’ operas.

Das Rheingold, Opera North

Das Rheingold is, of course, the reddest in tooth and claw of all Wagner’s dramas - which is saying something.

Peter Grimes in Princeton

The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.

Scintillating Strauss in Saint Louis

If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.

Saint Louis Takes On ‘The Scottish Opera’

Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.

Anatomy Theater: A Most Unusual New Opera

On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).

Shalimar in St. Louis: Pagliaccio Non Son

In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.

Jenůfa, ENO

The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.

The “Other” Marriage of Figaro in a West Village Townhouse

Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.

West Wind: A new song-cycle by Sally Beamish

In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.

Florencia en el Amazonas, NYCO

With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past

Idomeneo, re di Creta, Garsington

Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.

Don Carlo in San Francisco

Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.

Jenůfa in San Francisco

The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.

Musings on the “American Ring

Now that the curtain has long fallen on the third and last performance of the Ring cycle at the Washington National Opera (WNO), it is safe to say that the long-anticipated production has been an unqualified success for the company, director Francesca Zambello, and conductor Philippe Auguin.

Nabucco, Covent Garden

Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.

Tristan, English National Opera

My first Tristan, indeed my first Wagner, in the theatre was ENO’s previous staging of the work, twenty years ago, in 1996. The experience, as it should, as it must, although this is alas far from a given, quite overwhelmed me.

The Cunning Little Vixen, Glyndebourne

Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found myself surprised how much more warmly I responded to it this time.

London: A 90th birthday tribute to Horovitz

This recital celebrated both the work of the Park Lane Group, which has been supporting the careers of outstanding young artists for 60 years, and the 90th birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to England aged 12.

OPERA TODAY ARCHIVES »

Reviews

Giuseppe Gipali as the Duke of Mantua and L’ubica Vargicová as Gilda in San Diego Opera’s Rigoletto [Photo © Ken Howard]
01 Apr 2009

Rigoletto at San Diego Opera

In the current weak economy many an opera company has retrenched its programming to present primarily the most popular operas.

G. Verdi: Rigoletto

Gilda: L’ubica Vargicová; Giuseppe Gipali: Duke of Mantua; Lado Ataneli: Rigoletto; Maddalena: Kirstin Chávez; Sparafucile: Arutjun Kotchinian; Count Monterone: Scott Sikon; Borsa: Joseph Hu; Marullo: Malcolm Mackenzie. San Diego Opera. Edoardo Müller, conductor. Lotfi Mansouri, director.

Above: Giuseppe Gipali as the Duke of Mantua and L’ubica Vargicová as Gilda in San Diego Opera’s Rigoletto

All photos © Ken Howard

 

Think of it as operatic comfort food, if you will, in stomach-rattling times. San Diego Opera seems to have gone further, deciding to present its operas in stagings that can remind its audiences of long past high-rolling days.

Ian Campbell at San Diego Opera apparently discovered a secret trove of older New York City Opera productions, entirely traditional and only faintly musty. Spare but practical settings of Il Barbiere di Siviglia and Maria Stuarda were used in recent seasons, and the program for this season’s Rigoletto offers the vague credit “Scenery and costumes created for New York City Opera.” Elsewhere Carl Toms is identified as the creator, but no year is provided.

It looks to be from the mid-1970s, possibly early 1980s. Scene one of act one gets a handsome setting, with a palatial staircase dominating the picture, along with an oversized statue of an unidentified royal figure. The back opens to a deep view of a nighttime sky, which might get a little chilly for the attendees of the Duke’s get-together but adds to the atmosphere. A very lengthy scene change produced a less impressive set for scene two, with Rigoletto’s quarters being not much more than an iron gate and a staircase to an off-stage residence. This configuration returns to the stage the convention of characters using a gate when they could just step around it. Act two, supposedly the Duke’s private apartment, simply removed the statue from the act one set. Act three, tricky to stage with its action in the inn combined with positions for Gilda and Rigoletto to eavesdrop, as well as a riverbank locale, came off fairly well, if looking a bit like something from the old Disneyland Pirates of the Caribbean ride. The evening’s one innovation came across as superfluous, if not baffling: brief title screens, as if from a silent film, appeared before each curtain, mostly declaring that Rigoletto is an evil figure - arguable but still an odd framing device.

Rigoletto_SanDiego_09_02.gifArutjun Kotchinian as Sparafucile and Lado Ataneli as Rigoletto

Lotfi Mansouri is just the director for such a production, as he favors the stock gesture and routine stage movement. For a tenor such as Giuseppe Gipali, the Duke, the result was a stiff, uncharismatic performance. And Gipali does not have the voice to excuse such dramatic weakness. His tenor refuses to project unless at the very top of his range, and it possesses no interesting colors. L’ubica Vargicová, however, revealed a keen identification with the character of Gilda, evoking her innocence and faith without seeming weak or foolishly deluded. Even better, Vargicová sings beautifully, managing the trickier parts with no evident effort (she is also a successful Queen of the Night), and dominating many ensembles with her penetrating sound. It wasn’t always beautiful, but it was mostly exciting, and the San Diego audience greeted her passionately at final curtain.

Lado Ataneli has not proven himself in the past to be a captivating performer, but his dark baritone is a top class instrument. He really gave himself completely to this role, and if he had been in a production with a bit more imagination, he could have had even more impact. At least vocally, however, he could dominate most scenes, and the end of act two, in the duet with Gilda, became the highlight of the evening.

Rigoletto_SanDiego_09_03.gifA scene from Rigoletto

Ian Campbell cast the rest of the opera from strength, with a very sexy Kristin Chavez as Maddalena, and the truly scary, rail-thin Sparafucile of Arutjun Kotchinian, his bass oozing out of him. Malcolm Mackenzie stood out in his brief appearances as Marullo, unctuous and self-satisfied, as did the tragic Monterone of Scott Sikon.

The capable Edoardo Müller did his usual efficient work with the orchestra, although the act three quartet lacked punch and cohesiveness.

The program featured photographs of previous San Diego Rigoletto productions, and the 2002 snapshots revealed a fresh, updated approach. Either it was a failure at the time, or Campbell just decided that staging is not what his audience is currently in the mood for. Which is fine, but traditional stagings need fresh approaches as well. Despite the fine work of Ataneli and Vargicová, some cobwebs remained on the set by the end of the evening.

Chris Mullins

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):