United States Verdi, Rigoletto: Soloists, Chorus and Orchestra of Lyric Opera of Chicago / Enrique Mazzola (conductor). Civic Opera House, Chicago, 14.9.2024. (JLZ)
Lyric Opera of Chicago opened its 2024-2025 season with Verdi’s Rigoletto (1851) in a revival of the Robert Innes Hopkins staging. Director Mary Birnbaum focused on the character of Gilda to bring out gender issues in the Piave libretto which was based on Victor Hugo’s controversial play, Le roi s’amuse (1832). As Birnbaum states in her program notes, she took the opportunity to ‘re-examine characters who were crafted before the dawn of modern dramaturgy in order to try to give voice to their stories’. It is important to keep in mind the trajectory of the unfortunate curse (‘La maledizione’ was Verdi’s working title for Rigoletto) at the core of this frequently-mounted opera. Birnbaum used the overture to show Gilda looking at hidden family memorabilia, and then to show the ghost of her mother nearby. The latter image returns at the end when an angel takes Gilda to heaven as she expires from her wounds.
This production is noteworthy for the first-rate cast, notably Igor Golovatenko in his portrayal of the title character. Golovatenko is familiar to Lyric audiences from his Rodrigo in Don Carlos during the 2022–2023 season, and he will be equally memorable as Rigoletto. The baritone’s interpretation was solid from start to finish, and he gave his character depth and nuance through careful musical shadings of phrase, color and balance. Vocally equal, if not superior, to the courtiers in the first scene, Golovatenko made the father-daughter duet vibrant with his thoughtful inflections. He declared the paternal love that bound him to his daughter, and Gilda responded with filial devotion.
After Gilda’s abduction, the scene with the ill-minded courtiers was equally moving as Golovatenko shifted between anger and grief in ‘Cortigiani, vil razza dannata’, with phrasing that kept the audience engrossed. These scenes set up the dénouement, where Rigoletto reacts to the abduction and maltreatment by planning to leave the city after he arranges for the Duke’s murder. The tragedy of revenge turned on itself is well known, and with the final scene Golovatenko brought out the heartbreak in the last lines of the score. Here, as throughout the opera, Golovatenko commanded the role with exemplary musicianship.
Mané Galoyan was an outstanding Gilda, her delicate voice working well in the famous ‘Caro nome’. Her emphasis on the opening phrase suggested the role of names in this opera where Gilda does not know the name of her father. Using the name the Duke had given her as he declared his passion, Gilda reflects on her love for him, and Galoyan gave a polished performance of this familiar piece. She used a darker sound in the duet with Rigoletto where she reveals her love for the Duke which foreshadows her confession in the last scene. Galoyan’s finesse was evident in the upper registers, and her sense of florid line emerged in the earlier duet with the Duke.
Javier Camerena was the Duke of Mantua, and he impressed from the start with impeccable style and faultless delivery. His solid and vibrant ‘Questa o quella’ had a burnished sound that held through the registers Verdi used for the role. Pitches and intonation were spot-on in this number and elsewhere. ‘La donna è mobile’ was remarkable for the drive that Camarena gave it, and his voice soared in the love duet with Gilda, ‘È il sol dell’anima’. Here the bel canto inflections that Verdi used to emphasize the passionate bond between the lovers were both musically and dramatically convincing.
This was one of Lyric Opera’s best performances in recent years, and it reflects Enrique Mazzola’s leadership. The ensembles were deftly executed and, most importantly, the last act was appropriately intense – even from seats at the back of the main floor, it was possible to see Mazzola watching every breath as he guided the principals on stage.
As to the production itself, the sets offer plenty of space, and the lighting was effective, particularly in the last act where the visual cues help the audience maintain its focus on the resolution of the drama. This revival of one of Verdi’s iconic works brings Rigoletto back to Lyric Opera after a long absence and demonstrates the continuing appeal of his powerful score.
One detail worth noting is that Lyric Opera of Chicago’s opening night coincided with the city’s celebration of Mexican Independence Day. Arriving at the house did not pose problems, but travel after the show was challenging because of the number of cars that blocked streets and intersections. Perhaps the opening of future seasons could take place on a different weekend. They might even consider a digital broadcast that would preclude travel to and from the Civic Opera House and potentially reach a larger audience.
James L. Zychowicz
Production:
Director – Mary Birnbaum
Assistant director – Jordan Lee Braun
Sets – Robert Innes Hopkins
Costumes – Jane Greenwood
Lighting – Duane Schuler
Chorus director – Michael Black
Cast:
Duke of Mantua – Javier Camarena
Borsa – Travon D. Walker
Countess Ceprano – Adia Evans
Rigoletto – Igor Golovatenko
Marullo – Sankara Harouna
Count Ceprano – Christopher Humbert, Jr.
Monterone – Andrew Manea
Sparafucile – Soloman Howard
Gilda – Mané Galoyan
Giovanna – Maire Therese Carmack
Page – Gemma Nha
Usher – Vince Wallace
Maddalena – Zoie Ream