RIGOLETTO

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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

RIGOLETTO

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

 

with

 

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