If the French had anything to do with it, Rigoletto would never have been performed. Based on Victor Hugo’s play ‹Le roi s’amuse›, where Verdi described the subject matter of the play as ‹immense›, it was highly controversial as it depicted the King of France as an immoral and cynical womaniser. As a result, the opera had to undergo many changes before the censors allowed it to be performed, opening at La Fenice in Venice in 1851. Even though the King of France was deleted from the opera - he was converted to the Duke of Mantua - the opera was banned in France and not performed there until 1882.
Some of the controversies rested with the previous McVicar’s production and its first Act orgy scene. However, it is all change now as the new Oliver Mears production has commenced what it’s likely to be another long journey at the Royal Opera House, perhaps not as long as McVicar’s 20 years! This first revival opened with the tableau of Caravaggio’s ‹The Martyrdom of Saint Matthew› and the visual effects revolved around two major Titian paintings, firstly the erotic nude being ‹Venus of Urbino› and secondly the ‹Rape of Europa›. These were wondrously used to good effect throughout the performance to add character, to an otherwise plainly occupied stage, not that the stage was empty of sets. The set designer Simon Lima Holdsworth provided interesting big picture ideas of Gilda’s and Maddalena’s first-floor bedrooms. There are indeed enough, good production ideas that undoubtedly will unfold as this show matures in the years ahead.
This opera has been a stage for some great singers and this night was no exception. The Italian tenor Francesco Demuro has a small but beautiful Italianate ringing sound, with a great top. He was very matched by his fellow Italian Rosa Feola singing Gilda who made a striking debut. She is a wonderful coloratura soprano with the ability to float her notes beautifully even at the very top of her vocal range. The two Russian artists, the Sparafucile of Evgeny Stravinsky and the Maddalena of Aigul Akhmetshina were in good form, but it was the Italian baritone of Luca Salsi as Rigoletto who stole the show, with a broad, sometimes overwhelming sound. The intensity and sheer size of his voice were quite thrilling, but occasionally it was at the expense of the subtlety needed in the quieter moments. His duet at the end of the second Act with Gilda was dramatic, as was the quartet in Act three, in which the identity of each of the four principles was intelligently aligned and sophisticatedly performed. This was indeed outstanding opera.
At a time when Europe is in real turmoil for the first time in over 75 years, the growling turmoil felt by Rigoletto at the loss of his daughter was overwhelming with intensity.
