NOTES FOR A STAGED
Rigoletto is a bleak drama, of expressionist taste. Everything is clean, clear and violent in its inevitability. The disguise ties the characters: they all pretend to be what they are not, and the beautiful face of the Duchy of Mantua is only the mask of a world in decay.
In "King has fun", the theatrical drama of Victor Hugo from which the work was taken, the psychology of the characters appear much more ambiguous in their essence and abstraction, and situations much stronger than one might expect of a drama staged at the end of the nineteenth century. Just to give a caption at the extent of what environment of perdition wanted to tell Hugo: "The party is about to end, the dawn emerging behind the windows. Reigns everywhere an unrestrained freedom: the party has degenerated, seems almost like an orgy. "
The reasoning on the staging started from the idea of decay, degeneration and debauchery. Tragedy of the deformity, the corruption, the violence; double standards, public and private.
Our Rigoletto is a public man of his time and his environment: is corrupted, corrupting, limited in the body and the spirit. He knows what is the bed because he practices it, because he suffered it as a divine punishment end up on the disconnected mountains of his back. Rigoletto knows and stays. He remains. Wallows. Lives. Survives. And one gets conveniences and benefits. But only those that you grant a fool, because - in his defense - Rigoletto knows he is forced to that role. Rigoletto, in the hierarchy of that socialite emptiness, is relegated several steps lower: only a court jester, obligated to vulgarity for the fun of corrupt flattery. And so, from that position, he manipulates and takes his social revenge, acting behind the scenes of a rage that consumes him. As for example at the beginning of the play when, during one of the many lusty festivals at the court of the Duke, he shows horribly evil and towards an old father who came to retrieve his daughter, a young woman who is likely to get lost, dazzled as from the glitter of a wild life at court, depraved and enjoyable.
The ireverence that Rigoletto shows towards this father overflow, goes beyond all measure and subsides only when the old man gives him the worst of curses.
The strong colors dotted by Verdi suggest an abstract world , full of light and shade : shadows, light flavor expressionist . Spaces are only evoked and nothing is as it appears . A form of oblivion where they move masked individuals who seem to inhabit a world gone mad , which runs into the unknown ; and does not let touch the idea of being able to be found suddenly in front of a wall on which to crash . A wall that takes on the force of an archetype :to touch it , almost crumble in the hands
libretto by FRANCESCO MARIA PIAVE
music by GIUSEPPE VERDI
staged director LEO MUSCATO
set designer FEDERICA PAROLINI
costume designer SILVIA AYMONINO
light designer ALESSANDRO VERAZZI
conductor RENATO PALUMBO
choirmaster ROBERTO GABBIANI
Duca di Mantova PIERO PRETTI / GIANLUCA TERRANOVA
Rigoletto GIOVANNI MEONI / FRANCESCO LANDOLFI / STEFANO ANTONUCCI
Gilda EKATERINA SADOVNIKOVA / CLAUDIA BOYLE
Sparafucile GORAN JURIĆ / MIKHAIL KOROBEYNIKOV
Maddalena ALISA KOLOSOVA
Giovanna MARTA TORBIDONI
Il Conte di Monterone ITALO PROFERISCE
Marullo MARCO CAMASTRA
Matteo Borsa PIETRO PICONE
Conte di Ceprano LEO PAUL CHIAROT / ANTONIO TASCHINI
Contessa di Ceprano LAURA BERTAZZI / ANGELA NICOLI
Paggio STEFANIA ROSAI / MARIKA SPADAFINO
Usciere FRANCESCO LUCCIONI / RICCARDO COLTELLACCI
photo YASUKO KAGEYAMA / C. M FALSINI / G. AMICO
ORCHESTRA AND CHORUS BY TEATRO DELL’OPERA