Posts Tagged opera

Rigoletto May Not Be for Everyone

Friday, March 16th, 2018 | Permalink

What entertains opera audiences today is the same as it was in 19th century Italy or 18th century Austria. The orchestration and vocalizations in, say, Lucia di Lammermoor or Don Giovanni are as thrilling now as the evenings of their first performances.

What differs is in the plotting. Born out of the cultural mores and sensibilities of their times, the plot lines of these operas contain dramatic conventions and holes in motivation that are unacceptable and/or offensive to modern audiences. A current of this occurs in the Minnesota Opera’s new production of Giuseppe Verdi’s classic, Rigoletto (March 17, 22, 24-25, 27, 29, 31, 2018).

This disjunction in values is nowhere more pronounced than in the Duke of Mantua’s beautiful aria in the third act, the famous “La donna é mobile.” As sung by the opera’s philandering authority figure, the song is more a projection of male vanity than a pronouncement on female fickleness. And while the duets between Rigoletto and his daughter, Gilda, are tender and heart-felt, his characterization of her as an innocent angel under his (unwanted) fatherly protection confines her to a room only he can enter. Rigoletto’s attitude toward authority figures might be somewhat justified by the ruffian behavior of the duke and his courtiers, but it doesn’t soften the impact of his bitter and calculating hiring of a professional assassin to avenge his honor.

What salvages all of this boorishness, bullying, and backstabbing is the beauty of Verdi’s music. This is where the Opera’s creative team shines. Conductor Michael Christie’s orchestra, leads Olafur Sigurdarson (Rigoletto), Marie-Eve Munger (the ill-fated Gilda), and Joshua Dennis (Duke of Mantua) soar with the music to make the passions that motivate it palpable and believable. The other cast members, particularly those serving in the duke’s retinue and chorus, provide superior sonic and emotional support, as always. The lighting and costume design, especially the colorful masks in Act II, serve its dark actions well, as do the economical if sometimes confounding (doorbell on a courtier’s back?) scenic design.

Some of this disjunction may be attributed to Verdi’s source material. Musical historians claim Victor Hugo’s Le roi s’amuse suffered the same bureaucratic censure that afflicted Verdi’s opus. But regardless of its source or the cultural circumstances surrounding it, Rigoletto’s controversial attitudes towards contractual murder and treatment of women in an age of anti-gun and Me Too movements cannot be denied. As with any work of art, however, final judgment must rest in the eyes and ears of the individual. Attend a performance and decide yourself if beauties of music and style outweigh the affronts imposed by convention and stereotype.

Don Pasquale: Bumbling in Hollywood

Saturday, October 7th, 2017 | Permalink

Re-imaginings of old operas sometimes work; many times, they don’t. When the Metropolitan Opera set Richard Wagner’s Parsifal in Nazi Germany, for example, the depravity in the second act resonated with contemporary audiences but the spiritual majesty in finding the Holy Grail in the third did not.

The Minnesota Opera’s production of Gaetano Donizetti’s Don Pasquale witnessed on Social Media Preview Night (October 5, 2017) needn’t worry about upsetting anyone’s moral convictions, however. Subtitled “A Toast to Tinseltown,” this version pulls all the comedic stops in celebrating the opera buffa on which it is based.

But resetting a mid-19th century Italian opera in 1950s Hollywood creates a problem. Do the operatic conventions based upon the stylized shenanigans of commedia dell’arte fit into the mores of Hollywood’s Golden Age? The answer: surprisingly well.

Casting the eponymous main character as a fading film star a la Douglas Fairbanks or Errol Flynn provides some amusing film clips of his failures to recapture old glory that accompany the overtures preceding each act. And re-imagining Norina in the conniving servant’s role as a sultry starlet renders the egotistic Don’s marital comeuppances funnier and more believable.

However, the plot of the Don’s cutting off his lovesick nephew’s allowance to sire a proper heir addresses the economic concerns of Risorgimento Italy instead of the Babylon of Hollywood. Anyone with a passing acquaintance of pre-nuptial agreements and equal property settlements knows the paradise of eternal sunshine and plastic surgery pays little shrift to the financial plights of impoverished lovers.

Despite the plot’s unlikelihood, the performers capitalize upon the comedic potential in their characters. Craig Colclough makes a sprightly, foppish, yet sympathetic Don Pasquale. Andrew Wilkowske plays the role the conniving Doctor Malatesta to an over-the-top T. And David Walton (the pining Ernesto) and Susannah Miller (Norina/Sofronia) combine to create an empathetic pair of lovers. All of them (particularly Miller and Walton in the love duet) and the supporting players and chorus make this perhaps the most melodic of Donizetti’s operas.

If you go expecting a satire on Hollywood, you might be disappointed. If you enjoy beautiful music, colorful sets, and a frothy romantic farce that uses the mythos of Tinseltown to spoof the foibles of advanced middle-age, you’ll experience a laugh-filled evening of entertainment. Performances take place on October 7, 10, 12, 14-15, 2017. Enjoy!