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

Mascagni's Isabeau at Opera Holland Park: in conversation with David Butt Philip

Opera directors are used to thinking their way out of theatrical, dramaturgical and musico-dramatic conundrums, but one of the more unusual challenges must be how to stage the spectacle of a young princess’s naked horseback-ride through the streets of a city.

Grange Park Opera travels to America

The Italian censors forced Giuseppe Verdi and his librettist Antonio Somma to relocate their operatic drama of the murder of the Swedish King Gustav III to Boston, demote the monarch to state governor and rename him Riccardo, and for their production of Un ballo in maschera at Grange Park Opera, director Stephen Medcalf and designer Jamie Vartan have left the ‘ruler’ in his censorial exile.

Puccini’s La bohème at The Royal Opera House

When I reviewed Covent Garden’s Tosca back in January, I came very close to suggesting that we might be entering a period of crisis in casting the great Puccini operas. Fast forward six months, and what a world of difference!

Na’ama Zisser's Mamzer Bastard (world premiere)

Let me begin, like an undergraduate unsure quite what to say at the beginning of an essay: there were many reasons to admire the first performance of Na’ama Zisser’s opera, Mamzer Bastard, a co-commission from the Royal Opera and the Guildhall.

Les Arts Florissants : An English Garden, Barbican London

At the Barbican, London, Les Arts Florissants conducted by Paul Agnew, with soloists of Le Jardin de Voix in "An English Garden" a semi-staged programme of English baroque.

Die Walküre in San Francisco

The hero Siegfried in utero, Siegmund dead, Wotan humiliated, Brünnhilde asleep, San Francisco’s Ring ripped relentlessly into the shredded emotional lives of its gods and mortals. Conductor Donald Runnicles laid bare Richard Wagner’s score in its most heroic and in its most personal revelations, in their intimacy and in their exploding release.

Das Rheingold in San Francisco

Alberich’s ring forged, the gods moved into Valhalla, Loge’s Bic flicked, Wagner’s cumbersome nineteenth century mythology began unfolding last night here in Bayreuth-by-the-Bay.

ENO's Acis and Galatea at Lilian Baylis House

The shepherds and nymphs are at play! It’s end-of-the-year office-party time in Elysium. The bean-bags, balloons and banners - ‘Work Hard, Play Harder’ - invite the weary workers of Mountain Media to let their hair down, and enter the ‘Groves of Delights and Crystal Fountains’.

Lohengrin at the Royal Opera House

Since returning to London in January, I have been heartened by much of what I have seen - and indeed heard - from the Royal Opera.

Stéphane Degout and Simon Lepper

Another wonderful Wigmore song recital: this time from Stéphane Degout – recently shining in George Benjamin's new operatic masterpiece,

An excellent La finta semplice from Classical Opera

‘How beautiful it is to love! But even more beautiful is freedom!’ The opening lines of the libretto of Mozart’s La finta semplice are as contradictory as the unfolding tale is ridiculous. Either that master of comedy, Carlo Goldoni, was having an off-day when he penned the text - which was performed during the Carnival of 1764 in the Teatro Giustiniani di S. Moisè in Venice with music by Salvatore Perillo - or Marco Coltellini, the poeta cesareo who was entertaining the Viennese aristocracy in 1768, took unfortunate liberties with poetry and plot.

Pan-European Orpheus : Julian Prégardien

"Orpheus I am!" - An unusual but very well chosen collection of songs, arias and madrigals from the 17th century, featuring Julian Prégardien and Teatro del mondo. Devised by Andreas Küppers, this collection crosses boundaries demonstrating how Italian, German, French and English contemporaries responded to the legend of Orpheus and Eurydice.

Whatever Love Is: The Prince Consort at Wigmore Hall

‘We love singing songs, telling stories …’ profess The Prince Consort on their website, and this carefully curated programme at Wigmore Hall perfectly embodied this passion, as Artistic Director and pianist Alisdair Hogarth was joined by tenor Andrew Staples (the Consort’s Creative Director), Verity Wingate (soprano) and poet Laura Mucha to reflect on ‘whatever love is’.

Bryn Terfel's magnetic Mephisto in Amsterdam

It had been a while since Bryn Terfel sang a complete opera role in Amsterdam. Back in 2002 his larger-than-life Doctor Dulcamara hijacked the stage of what was then De Nederlandse Opera, now Dutch National Opera.

Laci Boldemann’s Opera Black Is White, Said the Emperor

We normally think of operas as being serious or comical. But a number of operas-some familiar, others forgotten-are neither of these. Instead, they are fantastical, dealing with such things as the fairy world and sorcerers, or with the world of dreams.

A volcanic Elektra by the Netherlands Radio Philharmonic

“There are no gods in heaven!” sings Elektra just before her brother Orest kills their mother. In the Greek plays about the cursed House of Atreus the Olympian gods command the banished Orestes to return home and avenge his father Agamemnon’s murder at the hands of his wife Clytemnestra. He dispatches both her and her lover Aegisthus.

Così fan tutte: Opera Holland Park

Absence makes the heart grow fonder; or does it? In Così fan tutte, who knows? Or rather, what could such a question even mean?

The poignancy of triviality: Garsington Opera's Capriccio

“Wort oder Ton?” asks Richard Strauss’s final opera, Capriccio. The Countess answers with a question of her own, at the close of this self-consciously self-reflective Konversationstück für Musik: “Gibt es einen, der nicht trivail ist?” (“Is there any ending that isn’t trivial?”)

Netia Jones' new Die Zauberflöte opens Garsington Opera's 2018 season

“These portals, these columns prove/that wisdom, industry and art reside here.” So says Tamino, as he gazes up at the three imposing doors in the centre of Netia Jones’ replica of the 18th-century Wormsley Park House - in the grounds of which Garsington Opera’s ‘floating’ Pavilion makes its home each summer.

Feverish love at Opera Holland Park: a fine La traviata opens the 2018 season

If there were any doubts that it was soon to be curtains for Verdi’s titular, tubercular heroine then the tortured gasps of laboured, languishing breath which preceded Rodula Gaitanou’s new production of La traviata for Opera Holland Park would have swiftly served to dispel them.

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):