Spain Verdi, Rigoletto: Soloists, Teatro Actual Refrain and Orchestra / Nicola Luisotti (conductor). Teatro Actual, Madrid, 5, 6 and seven.12.2023. (JMI)
Manufacturing:
Director – Miguel del Arco
Units – Sven Jonke, Ivana Jonke
Costumes – Ana Garay
Lighting – Juan Gómez-Cornejo
Choreography – Luz Arcas
Refrain grasp – José Luis Basso
Casts:
Rigoletto – Ludovic Tézier / Étienne Dupuis / Quinn Kelsey
Gilda – Adela Zaharia / Julie Fuchs / Ruth Iniesta
Duke of Mantua – Javier Camarena / Xabier Anduaga / John Osborn
Sparafucile – Simon Lim / Peixin Chen / Gianluca Buratto
Maddalena – Marina Viotti / Ramona Zaharia
Giovanna – Cassandre Berthon / Marifé Nogales
Monterone – Jordan Shanahan / Fernando Radó
Marullo – César San Martín / Isaac Galán
Matteo Borsa – Fabián Lara / Josep Fadó
Depend Ceprano – Tomeu Bibiloni
Countess Ceprano – Sandra Pastrana
Pageboy – Inés Ballesteros
This Verdi masterpiece was final seen on the Teatro Actual in 2015. Many will bear in mind these performances – it was the ultimate time that one might hear the title position sung in Madrid by the good Leo Nucci, the quintessential Rigoletto of latest a long time.
The staging is a brand new one, a co-production with ABAO Bilbao and Seville’s Teatro de la Maestranza. Miguel del Arco is the director and, if I’m not mistaken, it’s one in every of his first initiatives on the earth of opera.
The motion is introduced as much as fashionable occasions which is at all times a threat, even whether it is modern these days. For the reason that premiere of Rigoletto, 172 years have handed, and what made sense then doesn’t at all times make sense now. Much more so, the plot was initially set in even older occasions. To this one ought to add the troupe of dancers, current in all of the scenes and, in my view, annoying. Even their nudity and fellatio find yourself boring the viewer.
The units are largely non-existent. The Duke’s occasion is ready in a big, empty house with some draped components. The second scene is a kind of moon panorama with a couple of balloon-shaped objects, in one in every of which Rigoletto seems to dwell together with his daughter. In Act II, it’s again to the ducal palace with large crimson curtains and the Duke and dancers within the center, whereas Rigoletto and Gilda sing the ‘Vendetta’. Within the final act, Sparafucile’s home is nothing greater than a tent. The costumes are unattractive and, after all, Rigoletto has no hump. The stage path shouldn’t be notably fascinating, and there are these ever-present dancers.
The musical path, as in 2015, was within the arms of Nicola Luisotti. He’s at all times a assured success in these Italian operas, and particularly in these by Verdi. His studying was intense and made sense within the final two acts, whereas I discovered it much less outstanding in Act I. He drew stable performances from each the orchestra and refrain.
Within the first solid, Rigoletto was sung by Ludovic Tézier, one of many absolute best baritones of as we speak, and who, for my style, presently shares the throne of Rigoletto with Amartuvshin Enkhbat. Tézier’s voice is suited to the character, and he did properly, though one continues to overlook the good Leo Nucci, who didn’t play the position however merely was Rigoletto. It was Tézier who acquired the largest ovation of the three nights after his ‘Cortigiani’.
Within the second solid. Rigoletto was Étienne Dupuis, who as soon as once more confirmed the impression he had made on me beforehand. He’s essentially the most lyrical of the three Rigolettos right here however not like his colleagues shouldn’t be a perfect Verdi baritone. His efficiency was good with out being extraordinary, and I used to be shocked that he didn’t provide excessive notes on the finish of ‘La maledizione’. He gained applause for his ‘Cortigiani’, however it was much less intense than that for Tézier and Quinn Kelsey. Because the third Rigoletto, Kelsey has the highly effective voice of a real Verdi baritone. His voice fits the position, however I discovered him unexciting.
Soprano Adela Zaharia (featured picture above with dancers) has a beautiful voice, one which goes past the sunshine soprano who historically sings Gilda. Her finest second was the always-awaited ‘Caro nome’, which was loudly applauded by the viewers, and he or she excelled in her ‘Vendetta’ with Rigoletto.
The second Gilda was soprano Julie Fuchs, who gave a powerful efficiency. She is a light-weight soprano with an interesting, well-managed voice, and is an effective actress. There may be, nevertheless, an extreme vibrato in her voice that I had not observed till now, and it may be intrusive. It additionally caught my consideration that she averted some excessive notes, particularly in ‘Vendetta’. Ruth Iniesta was Gilda within the third solid. She too has a light-weight soprano voice, engaging within the heart, and he or she is a superb singer, though I discover her prime notes too metallic.
The primary Duke of Mantua was Javier Camarena, who fell considerably in need of what I anticipated. His most interesting moments got here in Act II when he sang ‘Parmi veder le lagrime’ and ‘Possente amor mi chiama’. He was much less notable within the at all times anticipated ‘La donna è cellular’, and one thing comparable may be stated of his interpretation of ‘Questa o quella’ in Act I.
The Duke within the second solid was Xabier Anduaga, the good promise of Spanish tenors, though I imagine that he has ceased to be a promise and is now an excellent actuality. It’s sufficient simply to take a look at his agenda, stuffed with worldwide engagements and in main opera homes. He was terrific: he has a vibrant voice and sings with gusto. For me, Anduaga was at his finest in Act II, particularly in ‘Parmi veder le lagrime’. It was glorious and bought an enormous ovation. John Osborn, the third Duke, is thought for his bel canto specialization, particularly in nineteenth-century French opera. His voice was much less engaging than on different events: he’s nonetheless an essential singer, however the vocal magnificence one at all times expects from the Duke was not there. I bought the impression that he had respiration difficulties on multiple event.
Simon Lim was superb as Sparafucile, and bass Peixin Chen, whom I used to be seeing for the primary time, made a optimistic impression, as did Gianluca Buratto. Maddalena was mezzo-soprano Marina Viotti, who was good within the half, as was Ramona Zaharia.
Jordan Shanahan, Fernando Radó, Cassandre Berthon and Marifé Nogales all did properly, and the opposite secondary roles had been coated appropriately.
José M. Irurzun
