Rigoletto

Reviewed by Holly Bartges

Generally, the short runs of Opera Colorado’s productions are just plain too short, but in this case, it may be a good thing.

Ironic.

Opera Colorado’s pProduction of Rigoletto. Christopher Robertson as Rigoletto. Photo: P. Switzer

Touted as Verdi’s masterpiece, Rigoletto flirted with the possibility of never getting to see an opening night. Censors screamed “disgusting immorality and obscene triviality.” Based on Victor Hugo’s play Le roi s’amuse (The King Amuses Himself), Verdi fought with fierce determination, making involuntary concessions before it opened March 1851. The audience responded with enthusiastic approval.

The decision to remove this production in the Italian city of Mantua from the 1800s to contemporary times was an intriguing one. Great operas dig deep into human issues, and human issues remain relevant whether they are looked at through a microscope in the 1800s or 200s. However, I hope decisions to contemporize great operas won’t become an excuse to cheapen productions. This current production of Rigoletto smacks hard against the “what happened?” “Disgusting immorality and obscene triviality” would be a welcome distraction from the stark bare stage and blazing white lights starring at Boettcher Hall.

Conducted by Mark Morash, the Colorado Symphony and voices of Rigoletto with baritone Christopher Robertson singing the title role, with soprano Jennifer Welch-Babidge singing Gilda, Rigoletto’s daughter, the tone and sound of the singers and orchestra is absolutely suburb. If one shut the eyes, and listened, one would think their ears had died and gone to heaven. However, the eyes have to be open to read the delightful and informative English translation, and it is after all a stage production.

With the cast dressed in contemporary costumes, it is difficult to distinguish what year this might be taking place. The desolate bare stage with callous lighting, especially in Act I, gives no indication whatsoever except the bright florescent lighting makes watching the action bothersome to the eyes. Characters seemed to have gotten lost in the cold glare. The sound was there. The voices were there. The orchestration right on target, but the singers find their arms paralyzed. The Opera Colorado chorus appears not to know what to do, where to go, or where to be on stage. For rough, conniving, scheming, deceptive men in the opera, they are a study of indecision and confusion. The set progressively provides more creative perception during Act II and Act III, but never quite reaches a level for something to write home about. Periodically, a glimmer of red bleeds through the conspicuous white lights, but not enough to define a mood. If the “Powers That Be” behind the scenes thought a simple set, white lights, and lack of stage direction would clarify treacherous mood swings, their thoughts never escaped beyond the boards to encompass the audience.

Often the butt of jokes, Rigoletto — crippled and deformed — finds the only place he can as jester to the Duke of Mantua, delectably sung by Julian Gavin. There is little indication of a crippled deformed persona. Rigoletto is identified in the opening scene because he wears a party hat, and the English translation says it is Rigoletto when he sings. At a celebration hosted by the Duke, it becomes a “boys will be boys” night with boasting of mistresses and conquests. The Duke sees himself as a ladies man from the get go. Boasting, taunts, and bragging bragging, going from fun to cruel, causes Count Monterone (Steven Taylor) to lay a curse at Rigoletto’s feet, which he takes seriously. Practical jokes turn deadly when the “boys” kidnap Gilda thinking she is Rigoletto’s mistress.

With the lack of stage direction, and too bright lights, Eric Owens making his Opera Colorado debut makes an indelible impression as Sparafucile, a hit man who offers his services to Rigoletto to get even. His white costume, and resounding bass-baritone voice, and comfortable-in-his-character stance, spotlights him with the hope he has opportunity to return to Opera Colorado’s stage soon.

Revenge, despair, debauchery, fear, practical jokes gone awry, one-ups-man ship, determination, all play a vital role in this tortured tale. What happens on stage does not match the beauty and quality of the sound. With the exception of the high quality of the voices, contemporary in this case equals disappointment.