Rigoletto is rightly one of the most popular of all operas. It has a fast moving, tragic plot and a score that is rich in lyricism and drama as well as crowd pleasing tunes. It is great the WNO are back to give
Sadly this may be one of the last chances for us to enjoy their excellence. Intense funding challenges are putting touring at risk as well as seeing the excellent chorus and orchestra under threat of redundancy. Members of the company are actively campaigning to protest these cuts including handing out leaflets as the audience arrive at the theatre, the orchestra wearing protest t-shirts in the pit and the curtain call featuring more of those shirts along with a heartfelt speech from a member of the orchestra asking for our support in saving WNO from these drastic changes.
If you enjoy top music making and great opera, then supporting WNO is something to urgently consider otherwise we will lose them.
The production itself is dramatically compelling but visually confusing.
There is a set that evokes a relatively modern industrial abattoir with a tiled wall and plastic sheeting. The costumes on the other hand are colourful interpretations of outfits from the 1500s to 1700s. It is hard to reconcile these two clashing aesthetics which stops the production from fully succeeding.
Musically and dramatically, the production is very satisfying. Pietro Rizzo conducts a well-paced and nuanced account of Verdi's great score and Adele Thomas's direction draws out some outstanding performances.
As with many Verdi scores, the emotional core of the piece lies with a father/daughter relationship. Here Rigoletto (Daniel Luis de Vicente) and Gilda (Soraya Mafi) are world class in their roles. Vocally they are completely in control meaning that the challenging music they have to sing feels almost effortless. It allows them to fully engage with their characters and the rapidly unfolding drama.
The supporting roles are all strongly cast. I particularly enjoyed Nathaniel Tavernier's sinister Sparafucile. His rich bass suits the role perfectly and he knows how to make the most of his few stage moments.
The chorus are to be praised not only for the quality of their singing, which is what we have come to expect of them, but also for their commitment to the drama. They clearly relish the debauchery and menace asked of them as well as the moments of high camp. It is great to see them in top form.
Overall this is a great production that needs a different set. The visual clash is just too distracting for me. But with music making of this quality, it is hard to be too critical.
Let us hope that we see WNO overcome their financial challenges and that they return to