Rigoletto

What does one of Verdi’s most famous operas have to do with the musical Grease? Well in this revival production, the leading lady dons an Olivia Newton-John blonde wig, as part of the transfer of the drama from the 16^th century to stylish 1950’s Italy.

Unlike some opera castings where the principal does not resemble the character’s physical attributes, in this case Stacey Alleaume as Gilda sang gorgeously, rattling fillings with her crisp floating top notes, and looked the part.

Photographer: Jeff Busby

The set and props snuggly fit the update. At one point a cute cosy Italian car drove onto the stage, and a revolving double storey dolls house set from Michael Yeargan, fitted with balconies, an upstairs bedroom on one side, and a palace on the other was jaw dropping.

The opera is based on a story written by Victor Hugo. the author behind Les Misérables and The Hunchback of Notre Dame.

Rigoletto is the hunchback jester in the court of the Duke of Mantua and in various twists in the plot works hard to keep a suitor away from his daughter and commissions an assassin to do his dirty work.

He is a very dark character played by Italian baritone Ernesto Petti who sang strikingly, which reminded me of the tone of a cello.

The other star in this production is Brazilian born tenor Atalla Ayan in the role of the Duke of Mantua. His voice reminded me of a trumpet and apart from one top note, which felt a little south of the mark, gave a stirring rendition of the signature tune La donna e mobile.

The sumptuous, brooding score sparkled under the baton of Renato Palumbo and the chorus was  also given the chance to shine as mischievous members of the court.

With some nice tunes, a spectacular set, accomplished singing and drama by the ‘Fiat’ load Rigoletto is a memorable night at the opera.

David Spicer

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Photographer: Keith Saunders (except where noted).