Rigoletto

This was a new production of Verdi’s masterpiece, and I hope it stays in the repertoire for many years to come. The curtain opened during the overture to reveal Rigoletto preparing to go to work, the structure revolved to show the exterior of the house, and revolved more to reveal the ducal palace. It was very effective.

The role of Gilda was written for a coloratura soprano, as their light voices are more appropriate when portraying a younger character. With the advent of heavier coloraturas in recent times, Gilda has tended to sound more matronly, so I was very pleased to find young Siberian coloratura, Irina Dubrovskaya, singing in a beautiful light, clear voice that was ideal for the role. That she was beautiful didn’t hurt either.

Italian tenor Gianluca Terranova also sang well, with the appropriate swagger for the role and he and his Gilda worked well together. Sian Pendry was a strong Maddelena.

The title role is one of the pinnacles of the baritone repertoire and Warwick Fyffe certainly has the instrument for it. His first act was impressive, though I would have preferred a lighter touch in his duets with Gilda, which were also a bit fast. However, his performance fell apart in the second act. “Cortigianni” is one of the most difficult baritone arias and Fyffe decided, or was directed, to shout rather than sing it. His voice never recovered. Hopefully he will not make the same mistake again.

The orchestra and chorus were in fine form. The costumes were magnificent and this production will be a jewel in the OA crown for many years to come.

Graham Ford

Images: Gianluca Terranova as Duke of Mantuaand Gianluca Terranova as Duke of Mantua and Sian Pendry as Maddalena. Photographer: Jeff Busby