Rigoletto review: High drama and impressive young singers

Rigoletto

Royal Opera House 

Rating:

There is sometimes a moment when a young singer proves beyond argument that he is the real thing. Which is what Michael Fabiano did at the beginning of Act II of this Rigoletto’s opening night, with the underrated aria Parmi Veder Le Lagrime, when his cynical, libertine Duke shows a flash of humanity. 

Obviously suffering from a cold, Fabiano sang carefully within himself in Act I, and then, confident his voice would last, let rip for the rest.

The Royal Opera should sign him to a long-term contract, along with the Maltese tenor Joseph Calleja, who returns in January in Tosca. These two young men, both still in their 30s, can between them ensure that Covent Garden’s lyric repertoire is in safe hands for years to come.

From far right: Dominic Sedgwick as Marullo and Luis Gomes as Matteo Borsa in the Royal Opera House performance 

From far right: Dominic Sedgwick as Marullo and Luis Gomes as Matteo Borsa in the Royal Opera House performance 

The other exceptional performance came from the young Italian bass Andrea Mastroni, who made his house debut only earlier this year. He has all the low notes to cope with the hitman Sparafucile’s sinister interventions, while also having real warmth higher up. Impressive.

Also promising is the English conductor Alexander Joel (half-brother of Billy, would you believe), who showed exceptional care for his soloists, perhaps occasionally at the expense of the drama. 

But the Russian soprano Sofia Fomina was a disappointingly inert Gilda, and Dimitri Platanias a vocally and dramatically limited Rigoletto. Their moments together should be the heart of the drama and really move an audience. But they didn’t.

But there’s plenty enough to merit a visit to the cinema on January 16, when Gilda will be sung by the much more charismatic British soprano Lucy Crowe.

Above: Sparafucile, played exceptionally by Andrea Mastroni, a young Italian bass who made his house debut earlier this year

Above: Sparafucile, played exceptionally by Andrea Mastroni, a young Italian bass who made his house debut earlier this year

David McVicar’s dark production, from 2001, still works well. The orgy in Act I is full of incident, too much so for many people. 

As for Acts II and III, the slum to which Rigoletto returns each night, and where he confines his daughter Gilda – and a grubby bar in which her final moments are played out – are both darkly atmospheric and undeniably cinematic.

Rigoletto is one of Verdi’s greatest operas. It doesn’t outstay its welcome, and there’s an abundance of good tunes and plenty of high drama. This could be an event for you.

 



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