From the moment Conductor
Victor DeRenzi steps onto the podium, we know VerdiÕs work is going to be
treated with respect and love. No
fooling around with musical riffs or scenery flying. We get a straightforward musical and stage production. ItÕs
as fresh as in its 2008 debut, a popular entry in DeRenziÕs decades of
presenting the entire Verdi canon. As the story of a court jester, the
hunchback of the title, who falls victim-- via his daughterÕs demise-- to the
curse of a count, it is dark as her doom.
Scenic designer David P. Gordon and especially Ken Yunker with his
lighting set this production to
convey moods either chilling or
foreboding. The initial treatment
of Rigoletto partakes of both.
Despite his dismissive attitude toward Count Monterone (Matthew Hanscom,
both dignified and distraught) for protesting against the Duke of MantuaÕs
despoiling his daughter, baritone
Marco NisticoÕs driven Rigoletto wins sympathy with his wit and vocal command
as well as pitiable deformity.
Is there a more despicable
rouŽ in opera than the Duke of Mantua? Yet Hak Soo Kim displays a charm that
makes his conquests believable.
HeÕs a true tenor whoÕs full voiced from the moment he plunges into his
cocky boasts at court through his final conquests and being conquered. He gets
away with a ÒLa donna e mobileÓ that pushes aside associations with TV
commercials. He yet seems at home in the up-to-date version of his wooing of Maddalena
(sexy Heather Johnson) that has him feeling her up on a tavern table. ItÕs easy
to imagine how Rigoletto and his daughter Gilda feel as they note the scene
from outside. It also motivates MaddalenaÕs father Sparafucile (effective Young
Bok Kim) to be a turn-around assassin. The despoiled but still-in-love Gilda
was originally to be played by a star of last yearÕs Sarasota Opera main
season. She was probably immediately lured to another company. That loss turned
out to be a gain, for Eleni
CalenosÕ Gilda fits the role beautifully as soprano (her ÒCaro noneÓ
excels) and actress. Only a man as
miserably polygamous and self-centered as the Duke of Mantua could not be
satisfied with RigolettoÕs lovely daughter here.
Adequate choral support is
provided by a number of male studio artists. If there is any criticism to be
made of staging, it is that the men seem bunched up to one side of the stage
even when no wall constricts their space.
Choreographer Diane Parington accomplishes well the movement at court. Praise for the Orchestra under
Conductor DeRenzi and for his excellent
surtitle translation!
Altogether, the production appears to presage an interesting traditional
season, beginning next
February.