Opera Reviews
29 March 2024
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An evening of mixed fortunes



by Colin Anderson
Verdi: Rigoletto
The Royal Opera
30 March 2012

Photo: Johan PerssonThere's a lot to admire about David McVicar's production of Rigoletto, first seen in 2001 and enjoying numerous revivals since. This latest staging confirms the bleak and inhospitable place that McVicar has created for the action to be played out in, although maybe it is too unvaried. Also the turntable that revolves for different scenes is slow and clunky. Accordingly tension can dissipate. Lighting is consistently dark, so whether the Duke's palace, Rigoletto's house or the place of ultimate tragedy - assassin Sparafucile's inn - there is little to differentiate them, suggesting that all the characters, whether noble or common, are trapped.

Yet, however familiar a production might be, different singers will bring their own personalities and interpretations to the roles. In this case we also have a conductor new to the opera, Sir John Eliot Gardiner. He had great success for The Royal Opera a couple of seasons back with Simon Boccanegra. He doesn't quite emulate this achievement in Rigoletto, although there is much to admire - the clarity of the orchestra (although the sound can be too lightweight at times), the quick pacing (even though the singers can be left breathless) and the yielding phrasing in the heartfelt lyrical passages (even if angularity is sometime still evident).

This first-night performance found the orchestra needing time to settle, particularly the brass; otherwise, without quite reaching the elevated standards these musicians can attain, the playing was good and focussed, with some finely expressive woodwind solos. It's arguable that although Sir John Eliot does sinister well, he overdoes the oompah aspects of the score, and overdrives the opening scene (an orgy for McVicar, the partygoers' whoops here too loud for the accompanying band) goes like the wind and causes Vittorio Grigolo as the Duke some problems in getting the notes and the syllables absolutely in place on his first entry.

Grigolo is a big draw card. Seductive as his voice is, and with welcome attention to phrasing and pianissimos, he lacks characterisation as the philandering Duke, and is sometimes more concerned with showing off his vocal talent than digging into the role. "La donna e mobile" is a case in point - with too fast a tempo and the singer using it as an exaggerated vehicle for himself.

Greater characterisation, and respect, comes from the singers of Rigoletto and his daughter, Gilda. To the title role Dimitri Platanias brings a secure, powerful and distinctive voice, which holds well for the character's paternal side, although there is room for even greater empathy with Gilda, and also in being more revengeful to those who have wronged him; homicidal hatred is kept on a tight leash. As his daughter, Ekaterina Siurina proved very affecting if not the most questioning and impulsive of Gildas; her "Caro nome" was spellbinding though.

As Sparafucile, Matthew Rose brings his typically authoritative deep voice to the role, yet without the chill of suggesting him as a dangerously suave and nonchalant assassin. Christine Rice is excellent as Maddalena, Sparafucile's sister and accomplice, and a very willing girl to the Duke's amorous and explicit advances.

If this was a mixed, still-settling-in night, it was also one that suggests that on any one evening great things could happen. The performance on 17 April could well be visiting at cinema near you.

Text © Colin Anderson
Photo © Johan Persson
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