RIGOLETTO

 

RIGOLETTO

Opera in three acts by Giuseppe Verdi with a libretto by F. M. Piave based on the drama by Le roi s’amuse, de V. Hugo.
Premiered at the Teatro La Fenice of Venice on the 11th of March 1851.

Musical production TEATRO CERVANTES DE MALAGA
Stage production TEATRO VILLAMARTA DE JEREZ DE LA FRONTERA

Duke of Mantua  ALEXEV TATARINTSEV
Rigoletto  JUAN JESUS RODRIGUEZ  
Gilda  SABINA PUERTOLAS 
Sparafucile  FELIPE BOU
Maddalena  SANDRA FERRANDEZ
Monterone  FERNANDO LATORRE            
Countess of Ceprano  OLGA BIKOVA
Count of Ceprano  DAVID CERVERA    
Giovanna  MARIA LOURDES BENITEZ      
Marullo  CARLOS DAZA    
Borsa  JESUS GOMEZ   
Page  MARIA LUZ ROMAN    
An usher  JUAN ANTONIO BLANCO 

MALAGA PHILHARMONIC ORCHESTRA 
MALAGA OPERA CHOIR

Stage director FRANCISCO LOPEZ
Chorus director MARIA DEL MAR MUÑOZ VARO 
Conductor JOSÉ MARÍA MORENO  

With Rigoletto, Verdi initiated the trilogy later completed with La traviata and Il trovatore (1853) and which won him great popularity; works of the middle period of his composing career which would consolidate the mature musical style of the genius of Busseto.
This opera is fundamental in Verdi's work and in the history of opera for many reasons. In Rigotetto, the composer abandoned historical and patriotic subjects in favour of more ethical and existential ones; the usual heroes are not princes or warriors, but rather marginal characters who represent human beings in all their complexity. For the first time, singing is at the service of drama and not vice versa. There is a perfect construction on stage of a powerful story, one of contempt of the powerful towards the weak and of violence and domination of men over women, matters that were bravely presented to the public in 1851: realism and romanticism hand in hand in a score that boasts famous arias, including ‘La donna è mobile’, ‘Questa o quella’, ‘Parmi veder le lagrime’ (Duke of Mantua), ‘Caro nome’ (Gilda), ‘Pari Siamo’ (Rigoletto)–, duets –‘È il sol dell´anima’ (Duke and Gilda), ‘Lassú in cielo’ (Gilda and Rigoletto)– and the sublime quartet ‘Bella figlia dell’amore’ (Duke, Gilda, Rigoletto and Maddalena).
Because of its emotional strength, the vocal role of Rigoletto is one of most important of the lyrical repertoire for baritones. Although it allows singers to showcase their talent, it requires great interpretation skills given the complexity of the character’s emotional evolution.
                                                                                                                            

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