#rigoletto
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vepxv1 · 2 months ago
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infinitelytheheartexpands · 2 years ago
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zippocreed501 · 6 months ago
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The set/stage for Rigoletto at the Bregenz Festival, 2021
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chessalbaneze · 6 months ago
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Major Arcana: Justice
This piece is back from late April 2019 and features one of the most explosive baritone arias from my favorite opera Rigoletto by Verdi. In this scene, "Cortigiani, vil razza," Rigoletto is certain his daughter is being held hostage by his employer the Duke and his courtiers who encourage the Duke's lecherous behavior, and he demands her release. The courtiers do not take Rigoletto's demands seriously and the aria changes from explosive fire, anger, and threats of physical violence to Rigoletto on his knees begging for even a scrap of empathy. It is one of the most heartbreaking scenes I have ever experienced, how in one moment this character is filled with righteous anger, and in the next is begging to be seen as a human being.
The most influential recording on me has been the one with Dietrich Fischer-Dieskau in the role of Rigoletto, with Rennata Scotto as Gilda and Carlo Bergonzi as the Duke. At the moment of posting, that whole recording is available to listen to here.
I also really love Sherrill Milnes as Rigoletto; he always brings a majesty and heartbreaking quality to his work. Here he is singing the aria that this card depicts.
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bluberimufim · 1 year ago
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Is the brooding jester painting even about Rigoletto or did everyone just wake up one day and decide to assign it to him?
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malusienki · 8 days ago
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secret santa for @beckmessering !! i drew simon keenlyside as rigoletto (a prod from wiener staatsoper iirc) happy holidays!
@operablr-secret-santa
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adventuressclubamericas · 3 months ago
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For tonight's musical interlude, a song featured in S3E3, Murder and the Mozzrella. From Verdi's "Rigoletto," here's Enrico Caruso with "La donna è mobile."
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moodboardmix · 2 years ago
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Rigoletto Opera Set, Basel, Switzerland,
Pierre Yovanovitch,
Photographs: Paolo Abate & Matthias Baus
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leporellian · 10 months ago
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rigoletto is an opera for bitches who sympathized with the hyenas in the lion king when they were kids
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princesssarisa · 1 year ago
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The Top 40 Most Popular Operas, Part 1 (#1 through #10)
A quick guide for newcomers to the genre, with links to online video recordings of complete performances with English subtitles.
Mozart's Die Zauberflöte (The Magic Flute) (Wolfgang Amadeus Mozart)
The most frequently performed opera worldwide: Mozart's fascinating, philosophical fairy tale opera, which appeals to both children and adults.
San Francisco Opera, 2010 (Piotr Beczala, Dina Kuznetsoca, Christopher Maltman, Erika Miklosa, Georg Zeppenfeld; conducted by Donald Runnicles)
Verdi's La Traviata
Tragic romance with social commentary, based on Alexandre Dumas fils' novel The Lady of the Camellias, which was also the basis for the classic 1936 Greta Garbo film Camille.
Los Angeles Opera, 2006 (Renée Fleming, Rolando Villazon, Renato Bruson; conducted by James Conlon)
Bizet's Carmen
The fiery tragedy of a seductive, free-spirited Spanish Romani woman and her loves, with some of opera's most iconic music.
Royal Opera House, Covent Garden, 2006 (Anna Caterina Antonacci, Jonas Kaufmann, Ildebrando d'Arcancelo, Norah Ansellem; conducted by Antonio Pappano)
Puccini's La Bohéme
Relatable slice-of-life romance that blends comedy and tragedy. The inspiration for the popular musical RENT.
Studio film, 1965 (Mirella Freni, Gianni Raimondi, Rolando Panerai, Adriana Martino; conducted by Herbert von Karajan)
Mozart's Le Nozze di Figaro (The Marriage of Figaro)
The best loved of Mozart's Italian operas, a great comedy of class conflict and sexual intrigue.
Glyndebourne Festival Opera, 1994 (Gerald Finley, Alison Hagley, Renée Fleming, Andreas Schmidt, Marie-Ange Todorovich; conducted by Bernard Haitink)
Puccini's Tosca
Political intrigue, lust, and bloodshed amid the splendor of Rome – some call it a "shabby little shocker," others call it thrilling.
Vienna State Opera, 2019 (Sondra Radvanovsky, Piotr Beczala, Thomas Hampson; conducted by Marco Armiliato)
Mozart's Don Giovanni
Arguably the greatest retelling of the legend of Don Juan, with comedy, drama, and Mozart's glorious music.
Salzburg Festival, 1954 (Cesare Siepi, Otto Edelmann, Elisabeth Grümmer, Anton Dermota, Lisa della Casa, Erna Berger, Walter Berry Deszö Ernster; conducted by Wilhelm Furtwängler)
Puccini's Madama Butterfly
Puccini's iconic "Japanese tragedy." Controversial from a racial standpoint, but a tearjerker nonetheless, and the inspiration for the musical Miss Saigon.
Feature film, 1995 (Ying Huang, Richard Troxell, Ning Liang, Richard Cowan; conducted by James Conlon)
Rossini's Il Barbiere di Siviglia (The Barber of Seville)
The lighter and more madcap prequel to The Marriage of Figaro, known as the quintessential comic opera.
Vienna State Opera, 2019 (Rafael Fingerlos, Juan Diego Flórez, Margarita Gritskova, Paolo Rumetz, Sorin Coliban; conducted by Evelino Pidò)
Verdi's Rigoletto
A richly melodic tragedy of a hunchbacked jester, his daughter, a lecherous duke, and a self-fulfilling curse.
Studio film, 1982 (Ingvar Wixell, Luciano Pavarotti, Edita Gruberova; conducted by Riccardo Chailly)
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opera-ghosts · 5 days ago
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New Year’s Eve 1904 at The Metropolitan Opera. Verdi's „Rigoletto“ with Caruso and as Gilda Alma Webster-Powell (1869-1930). This was the only evening that she sung this role at the Met. But take a look on her very interesting biography.
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beckmessering · 1 year ago
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rigoletto as a character is so relatable because he goes “you’re against me? all of you? all? well ok i’m going to cry” and tbh same
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rayatii · 19 days ago
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Got a video on my YouTube recommended titled "A Guide to Verdi's Problematic Opera That Aged... Poorly", and the opera in question is Rigoletto. I am not sure to which degree I agree. Let's discuss?
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supercantaloupe · 21 days ago
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so. circus rigoletto!
this production was by an indie opera company based in dc called inseries opera, who apparently focus on performing both new works and old works with creative, "irreverent" (their word) takes on them. this is my first production of theirs i've seen. it was the second show in their 24-25 series, which is based around the theme of shows which were censored and/or banned when they were written. this production took verdi's classic and gave it a new english translation, new chamber orchestra arrangements, and slapped some greasepaint and glitter all over everything.
it was a small production -- cast of seven, very reduced orchestra, small theater and smaller set, but i have long thought that verdi would be suited for more intimate, pared-down settings. and i would say tonight proved my theory correct. while there were a couple of times i wished the orchestra could have had a bit more oomph behind it (though i really liked the organ accompagnato), in general i think it suited the production well and the intimacy invited between the physical closeness between the audience and performers really added to the experience. it's like an oklahoma 2019 thing for me i guess. story's about social ostracization and complacency with oppression, the actors should be able to look you in the damn eye right back lol
i thought the circus setting was used remarkably effectively. there is a heightening and ridiculousness to the clowning that, besides just being funny, works to stand in for the cruelty and carelessness of the courtiers and lend kind of a morbid irony to the whole story by the end. and they use the visual language of the circus to its fullest, thematic/symbolic effect.
for example, the use of balloons: gilda is introduced with a red balloon, tied to her wrist. it's a symbol of her innocence and youth. after her encounter with "gualtier malde," she uses a cup of greasepaint (see more below) to draw a smiley face on the balloon, and then caresses it and dances with it in dreamy bliss. then, at the end of act i when she's captured, the last we see of her after she's taken behind the curtain (and her shadow is cast from the other side -- shadowplay is used a lot in this production), the balloon is loosed, deflates, and falls to the ground. then in act ii when rigoletto is trying to find her, the courtiers all hold white balloons to mock him, and release them to deflate when he discovers what's happened.
another example: everyone in act i except for rigoletto is dressed for the circus. there's a female ringleader (later maddalena, also fills the role of countess ceprano, but mostly she's an unnamed accomplice to the courtiers), a couple clowns (marullo/ceprano (they two rolls are basically combined here) and borsa), a strongman in goofy bodysuit and leotard (monterone), and a mime/clown (duke). everyone (except the ringleader...i'll get to it) is in a goofy costume and greasepaint except for rigoletto. even though he participates fully in the mischief of the court in scene i, visually he's othered from everyone else, with his unpainted face and plain overalls. (also, while the actor does not feign disability through physical mannerism or through any kind of costume prosthesis, throughout the show he's referred to as "hunchback" "hunched" and "crippled" so they definitely aren't overlooking WHY he's so hated here lol). anyway, act i scene ii comes along, and sparafucile arrives -- he's not in a clown suit, but he IS greasepainted, because he's actually doublecast with monterone and the costume change here happens onstage. he's othered too, but still participates in the system of violence his own way. after that, when rigoletto arrives at home, we see gilda, and she is similarly non-circus -- just a normal dress and no face paint. (also, the gilda they cast is TINY. i think their rigoletto was a little on the tall side, but even still, in heels gilda only came up to his shoulder. barefoot in act ii she only reaches his chest. with the balloon and the way she was costumed and acted, this is easily the youngest-seeming gilda i've yet watched, which suits the story.) fast forward to act ii, and rigoletto is frantically searching for gilda while the courtiers watch in silent amusement -- their faces are painted in exaggerated expressions of joy and sadness, both mocking rigoletto and refusing to reveal anything sincere from the people underneath the paint. then, at the end of act ii, when rigoletto swears vengeance on the duke, what does he do? he grabs a cup of greasepaint and smears it onto his face, where it stays through act iii and the end of the show. effectively he became what he hated, tried to join the society that rejects and mocks him -- embodied by the circus makeup -- and it leads to his doom.
now, a word on that ringleader, as i had promised above...she never appears in greasepaint, which i think is something of an oversight, personally. i think by having her and gilda both never appear with their faces painted, it sets them apart from the sins of the courtiers, and is trying to make a point about how all women in the opera are made victims of the duke and the courtiers' behavior. which is fair enough, i suppose, but it only really works if that actress ONLY shows up as countess ceprano and maddalena. but in fact she goes right along with the courtiers as a willing participant at the end of act i and through act ii. this is why i've chosen to call her a "ringleader" here, even though in the program she's only credited as maddalena. sure, i can understand her doublecasting as countess ceprano in act i scene i, and obviously she's maddalena in act iii. but in act i scene ii and act ii, neither of those characters are present, but the actress certainly is, and is just as involved as borsa and marullo (and...monterone? he's also there. he might be intended to be Unnamed Courtier #3 here or something but it's the same costume as monterone so it really reads as monterone. which doesn't make a ton of sense if he's supposed to be in jail awaiting execution but. moving on). at any rate, she also closes the opera by setting off a confetti canon over rigoletto cradling his dead daughter's body and sobbing, so i think she's kind of serving as a leading player from pippin or a cabaret emcee kind of role when she's not specifically being the countess or maddalena. hell, maybe the countess IS the ringleader. not really sure. anyway -- i think she should have also been in greasepaint. even if maddalena is also meant to be a victim the way gilda is, she does also, like, participate in murder and stuff. and if sparafucile is guilty enough of that that he remains greasepainted as monterone was, then i think maddalena should be greasepainted too. it would make gilda's innocence and tragic death stand out even more in the end as the only person left onstage without any makeup or clown costume on whatsoever.
now that's a very longwinded nit i've picked there. but really, i am nitpicking -- i don't have a lot to complain about with this production. my only other big complaint is that the surtitles weren't totally accurate to what was sung, which is weird considering that it's a newly written english libretto, so it's not like we're dealing with translational liberties in the titles. it reads to me like they programmed the titles with the version of the libretto they were using before rehearsals started, and then the libretto got altered here and there during the rehearsal process as things needed to be adjusted to fit the music and facilitate ease of singing/intelligibility, but the titles were never updated to match? which is strange. definitely felt like an oversight. but that's another nit i'm picking. the differences between what was sung and what was written in the titles were all minor wording differences, nothing that changed the actual plot or meaning of the scene.
overall: a great experience, as long as you aren't completely put off by clowns LOL. but i do think the circus design suited the material; they were quite clever to make that connection and draw it out so well. there's more i haven't mentioned here for brevity's (lol) sake, and because some stuff is harder to describe in words than others. the performances were great, with particular kudos to the duke for really nailing the physicality of everything, for doing a great job with the vocals, and for the remarkable talent of being able to juggle while singing "women are featherbrained" (la donna è mobile). he was really entertaining, both funny and sinister/hateable. bravo. but the whole cast did a great job.
i don't know if i'll get to their other shows this season, but i definitely see myself coming back to see what else inseries opera has in store. i might also check out their video archive, since they seem to have videos of past productions available to stream online -- which is an amazing surprise treat from such a small company! i suspect, then, that rigoletto will find its way online at some point to watch -- there were cameras set up to film tonight's performance, so i'll definitely keep my ear to the ground about that. if it goes up online, it'd be good to check out if you're at all interested.
anyway, the show was great. i really enjoyed it. but i could also be swayed by a lot of shows if they sold me movie theater popcorn at the concessions stand.
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zippocreed501 · 6 months ago
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Verdi's Rigoletto at the Bregenz Festival, 2021
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the-tenth-arcanum · 2 months ago
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(inspired by a tag by @verdibaritones)
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