Only two
performances of Boston Lyric Opera’s stunning RIGOLETTO remain. If you haven’t
attended in a while, now is the time to revisit this solid company of young (but
fully experienced) singers. The BLO can match any of the top companies with
their musicianship and their exceptional acting and well as singing
performances. With RIGOLETTO you’ll witness BLO’s taste in directors, as well,
and Tomer Zvulun is top of his game, with a brilliant interpretation which
doesn’t change the opera one whit (Traditionalists have nothing to fear.) but
lifts it to new heights.
If you are
going, don’t read on because you will be transported, thrilled and moved like
no other production you’ve seen. We were stunned by the sublime ending. Knowing
ahead of time how Zvulun does it will spoil the surprise.
Here’s how
Zvulun enhances the story with just a few tweaks in the staging: Most
productions do not show the personification of Monterone’s rage. He simply
arrives, tells his story and curses everyone. Zvulun puts Monterone’s raped,
ruined daughter on stage in the very first scene where she’s manhandled, maybe
even drugged, poor thing. She can barely walk. And yes, she runs into Papa’s
arms just like Gilda will run to Rigoletto in Act II. An eye for an eye. A
daughter for a daughter.
The inspired
ending has Rigoletto receive the body bag from the assassin, Sparafucile, with
the daed Duke, he thinks, inside, when he hears the Duke’s “La donna è mobile.” He’s horrified,
disoriented. He thinks the singing is coming from the sack so he stabs at it
trying to finish him off. His metaphor about killing his daughter by “his own
hand” is now literal.
He opens the
bag, finds her lifeless body and we’re on the edge of our seats, wondering how
she can possibly be alive long enough to sing her goodbye. She isn’t but her transcendent
spirit is. (The nifty body double switch is accomplished during the thunder and
lightening strikes.)
Gilda is now
free to sing the exquisite “V'ho
ingannato” without diminishing her voice to simulate loss of breath. As
the spirit passes behind Rigoletto, he is still begging the lifeless corpse not
to die. Just as she’s exiting, though, he senses a presence and turns his head
in her direction, as if he feels her spirit leaving. It took our breath away!
Christopher
Franklin’s orchestra had passion and strength. Bruce Sledge as the Duke sang
beautifully, with clarity, despite a head cold. Michael Mayes acted and sang
his way onto my list of favorite Rigolettos, including Richard Fredericks,
Cornell MacNeil and Sherrill Milnes. Nadine Sierra gave an ethereal, gossamer
performance as Gilda, Morris Robinson took over the stage as the evil assassin,
Sparafucile and David Cushing as Monterone was a righteously frightening
presence. Every member of the cast added immeasurably to the whole. This is one
RIGOLETTO I can’t stop talking about.