BWW Reviews: RIGOLETTO By Oh! Is A Beautiful Opera Of Love

"As far as dramatic effectiveness is concerned, it seems to me that the best material I have yet put to music (I'm not speaking of literary or poetic worth) is Rigoletto. It has the most powerful dramatic situations, it has variety, vitality, pathos; all the dramatic developments result from the frivolous, licentious character of the Duke. Hence Rigoletto's fears, Gilda's passion, etc., which give rise to the many dramatic situations, including the scene of the quartet which, so far as effect is concerned, will always be one of the finest our theaters can boast."

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Ah, yes, so says Guiseppe Verdi - clearly the (Kan)yeezy of his time - about his popular and often performed opera RIGOLETTO. To be fair, he is right. The story is full of sex and murder and boasts some of the most famous music in opera. There is the aria "Gaultier Malde ... Caro Nome," the catchy, ear-worm "La Donna è Mobile" and, as Verdi attests, one of the finest quartets that the art form has to offer.

But here's the thing: the characters are all awful, foolish people, and I hate them. The Duke of Mantua is a selfish, indulgent person who puts his own pleasure ahead of, well, everyone and everything. He is a useless shell of a human, and he does not get his just deserts. Let me illustrate. Just for kicks, the Duke, with the help of his court jester, Rigoletto, successfully seduces Countess Ceprano, wife of Count Ceprano. After helping the Duke bed Countess Ceprano, Rigoletto spends a good portion of time mocking Count Ceprano for, I don't know, having a failing marriage? Angered by his wife cheating on him so publicly and the constant mocking, the Count curses the Duke and his court. Owing to the curse, Rigoletto loses his life and everything he loves including his beloved, chaste daughter Gilda. (Yes, it's important that Gilda's chaste and, yes, I did refer to her as one of Rigoletto's possessions. Blame the librettist, Francesco Maria Piave, and composer for sexist plot points, not me.)

But my hate is irrelevant. This production is a triumph of musicianship. In fact, much of the energy and flair of Opera in the Heights' production comes from the performance of the musicians and conductor, Enrique Carreón-Robledo.

That said, Daniel Scofield as Rigoletto is the definition of the sad clown. He is a self-hating sell-out but, unlike the Michael Scotts of the world, he knows it. His painfully woeful vocals paired with his nuanced portrayal forces me to see his humanity and to sympathize with him despite his flaws.

Erin Kenneavy (Gilda) is a stand out. Her character is a tough sell. Curses be damned. I don't see the character motivation for Gilda making the ultimate sacrifice for the Duke. For the most part. Okay, fine. As much as I tried not to understand, Kinneavy's performance kept elucidating. Gilda is undeniably sweet, delicate, and inadequately protected. I fear for her heart and for her life.

Furthermore, Kenneavy tackles "Gualtier Maldè ...Caro Nome" with verve. She flits around the notes and chirps like a hummingbird. Admittedly, I yearned for more fluidity and speed in her trills, but the standard for the aria is high. "Caro Nome" is commonly associated with Joan Sutherland. And I have Maria Callas' interpretation on my iPod. In some respects, the two legends have poisoned the well. No matter. Kinneavy is a fine singer and her performance is a highlight of this production.

When she and Daniel Scofield's Rigoletto are together, I can feel the genuine affection between father and daughter.

Conversely, when Kenneavy and Bernard Holcomb's Duke of Mantua (Duca) are together, I don't feel the sexual attraction between the two. Even so, Holcomb radiates charisma and exemplifies the joie de vivre that makes the Duke so attractive. By the same token, there is one humorous scene where the lovers display palpable chemistry. Busted by Rigoletto, the sweethearts must part to keep their courtship secret. But their infatuation with each other prevents a quick departure. They smother each other with kisses and embraces up until the last minute. It is the operatic equivalent of "You hang up." "No, you hang up." "No, you hang up." Fly-by-night romance aside, it's a cute scene.

I found the bursting sensuality I sought between the Duke and Gilda in Holcomb's later scene with Alissa Anderson's busty Maddalena.

Other short and sweet highlights include Maxim Bitner's passionate Count Ceprano and Nathan Stark's Sparafucile. Stark's voice is intoxicating. It is as toasted and oaken as the bourbon cask it was surely matured in.

Then there's the storm in act 4. Notwithstanding the dynamic trio, there is the chorus. Offstage, the chorus creates the eeriness and quiet beauty of the wind in a storm.

And the famous quartet is a beautifully tangled mess of intertwined voices, emotions and desires that rise to a peak of tension only to resolve to violence. One might say it is one of the finest our theaters can boast.

Opera in the Heights' run of RIGOLETTO is finished I'm afraid. But the second production of the season is HANSEL UND GRETEL by the delightfully quirkily named Engelbert Humperdinck.

November 14 and 15 - 7:30pm

November 16 - 2:00pm

November 20, 21, 22 - 7:30pm

November 23 - 2:00pm

Visit http://operaintheheights.org/hansel-und-gretel-by-engelbert-humperdinck/ for more information.

Photo Credit: Deji Osinulu Photography
Photos courtesy of Opera in the Heights

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