With its powerful music and dramatic plot, Rigoletto is considered by many, including the composer himself, as Verdi’s finest opera.The plot centres on two flawed characters, one even more despicable than the other.
On the one hand, we have the Duke of Mantua, a vicious and lecherous brute who has no redeeming features whatsoever and on the other, we have his hunchback jester Rigoletto, who amuses the Duke by making fun of his courtiers and anyone else who crosses their paths.
Rigoletto, however, has a beautiful and innocent daughter, Gilda, whom he cherishes and guards obsessively, letting her leave his protection only on Sundays to go to church.
The Duke, however, has set his lascivious eyes on her there but so have the courtiers, who think she must be Rigoletto’s mistress.
Full of vengeance for Rigoletto’s demeaning attitude towards them, they kidnap Gilda, much to the delight of the Duke who has his evil way with her. Rigoletto then hires an assassin to kill the Duke, but in a brilliant final act, the assassin kills Gilda.
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This is the second revival of Oliver Mears’ artistic production first seen in 2021 which begins with a striking image of some of the leading actors motionless in a pose mimicking Caravaggio’s painting The Martyrdom of St Matthew.
Like most members of the audience, I did not recognise this, of course, but it was still very striking, particularly with the Duke in full satanic regalia as Rigoletto observes the scene.
Two Titian nudes dominate the Duke’s palace in what follows to confirm the artistic credentials of the production, but however impressive these may be, they add little when the cast is of such high quality as we saw and heard.
The Romanian tenor Stefan Pop was in glorious voice as the Duke, singing with great power and precision while also conveying the proud self-indulgence of the role.
His unpleasant violence in the first act (overdone by this director in my opinion) contrasted with the well-practised seduction routine he showed later to encapsulate his thorough nastiness.
Italian bass Gianluca Buratto was splendid as the assassin Sparafucile, growling his way with brilliant solemnity and well held long, slow notes that conveyed his true professionalism in the craft of contract killing.
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South African soprano Pretty Yende sang the part of Gilda beautifully, especially the impressive high notes, though she did not quite convey the innocence of the poor girl as effectively as the wonderful Lisette Oropesa did the last time I saw this at the Royal Opera.
The orchestra was conducted excellently by Julia Jones, whose energy showed itself most impressively in the final act when the power displayed by the orchestra perfectly matched the increasing tension of the action and the glory of Verdi’s music.
The real star of the evening, however, was the Mongolian baritone Amartuvshin Enkhbat in the role of Rigoletto. Wearing his hunchback’s hump with great inelegance, he lurched convincingly about the stage, singing in a strong, expressive voice that could perfectly convey both his sarcastic, jester side and his inner sadness and love for his daughter. Thanks to Enkhbat’s performance, this was perhaps the best all-round performance of Rigoletto I have ever seen.
Booking and information: 020 7304 4000 or roh.org.uk (various dates until 28 November. Seats from £12 to £220. Cast change from 13 November).
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