Giuseppe Verdi: Rigoletto
Libretto/Text Author: Piave, Francesco Maria
Libretto Source: Hugo, Victor
Conductor: Chailly, Riccardo
Orchestra: Vienna Philharmonic Orchestra
Chorus: Vienna State Opera Chorus
Chorus Master: Balatsch, Norbert
Borsa: Corazza, Remi
Ceprano: Bracht, Roland
Countess Ceprano: Kuhlmann, Kathleen
Duke of Mantua: Pavarotti, Luciano
Gilda: Gruberova, Edita
Giovanna: Barbieri, Fedora
Maddalena: Vergara, Victoria
Marullo: Otey, Louis
Marullo: Weikl, Bernd
Monterone: Wixell, Ingvar
Rigoletto: Wixell, Ingvar
Sparafucile: Furlanetto, Ferruccio
Giuseppe Verdi: Rigoletto
Rigoletto, opera in three acts by Italian composer Giuseppe Verdi (Italian libretto by Francesco Maria Piave) that premiered at La Fenice opera house in Venice on March 11, 1851. Based closely on the controversial 1832 play Le Roi s’amuse (The King Amuses Himself; also performed in English as The King’s Fool) by Victor Hugo, Verdi’s opera was nearly kept off the stage by censors. With Rigoletto, Verdi reached a new level in his career; his next two operas, Il trovatore and La traviata, exhibit comparable artistry. Each of the three remains a staple of the operatic repertoire. The opera’s best-known aria is “La donna è mobile,” in which the womanizing Duke of Mantua muses upon the fickleness of women.
Verdi had agreed in 1850 to write an opera for La Fenice in Venice, where Piave, one of his favourite librettists, was the resident poet. The composer was eager to adapt Hugo’s Le Roi s’amuse, which he declared “the greatest subject and perhaps the greatest drama of modern times.” Verdi also said that the title character, called Tribolet in the play, was “worthy of Shakespeare.” The composer, librettist, and theatre management were aware that getting the libretto through the censorship process could be a challenge. The play had premiered in 1832 but was banned after only one performance when the French government, horrified by its disrespectful portrayal of a monarch, declared it immoral.
Northern Italy was at the time controlled by the Austrian Empire. If Verdi wished to stage an opera in Milan or Venice, two cities central to his career, he needed permission from both Austrian and local authorities. Very early in their work on the libretto, under the title La maledizione (“The Curse”), Verdi and Piave began revising the story so that they would avoid problems with the censors. They changed the lecherous and debauched king to a duke, transposed the setting to Italy, and made adjustments to decrease some of the more shocking aspects of the violent story. As Verdi had wished, however, the duke’s antagonist remained a cruel hunchbacked jester. They had not expected to have problems with the censors. Yet back-and-forth demands and responses, first from the Austrian censor and next from the local authorities, continued almost until the opera opened. Under its final title, Rigoletto, the premiere was well received. Two years later Verdi insisted that the opera had “the best, the most effective subject I have so far set to music.”
Rigoletto is an acknowledged masterpiece that demonstrates Verdi’s complete grasp of his musical materials. The action proceeds almost continuously, so the audience rarely perceives artificial breaks for conventional arias. The orchestra conveys moods and unspoken emotion, perhaps most notably in the storm music of the final act. Even minor characters are delineated musically—for example, through distinctive rhythmic, melodic, or harmonic patterns. The quartet “Bella figlia dell’ amore,” is a marvel of simultaneous characterization, beautifully integrated into the larger context. In fact, upon seeing Rigoletto in Paris, Victor Hugo himself wrote about the quartet:
If I could only make four characters in my plays speak at the same time, and have the audience grasp the words and the sentiments, I would obtain the very same effect.
Opera in three acts by Giuseppe Verdi with libretto in Italian by Francesco Maria Piave based on the French play Le roi s'amuse by Victor Hugo
THE DUKE OF MANTUA
RIGOLETTO, his jester
GILDA, Rigoletto's daughter
GIOVANNA, her nurse
SPARAFUCILE, professional assassin
MADDALENA, his sister
Time: 16th century
First performance at Venice, March 11, 1851
Duke of Mantua: Tenor. A libertine leaving a trail of discarded young women in his wake. In church he has seen a lovely lady whom he fancies as his next conquest. He does not know she is Gilda, daughter of his court jester, Rigoletto (nobody knows that Rigoletto is a widower with a daughter, and it is generally presumed that the lady is his lover). Disguised as a student, Gualtier Maldè, he manages to slip into Rigoletto's house and make his feelings known to Gilda. When she is abducted by the courtiers and brought to his palace, he seduces her and her father swears revenge. Sparafucile is hired to kill him. Sparafucile's sister Maddalena entices the Duke to a local tavern, where his behaviour is secretly observed by Gilda and her father. Maddalena finds him attractive and her brother agrees not to kill him, on condition that they kill someone else in his place so that their hirer (Rigoletto) can be presented with a body in a sack. This plan is overheard by Gilda, who disguises herself as a man and is mortally wounded when she enters the tavern. As Rigoletto gloats over the sack, his revenge complete, he hears in the distance the Duke's voice singing. Arias: Questa o quella (‘This one, or that one’); È il sol dell'anima, la vite è amore (‘It is the sun of the soul, life is love’); La donna è mobile (‘Woman is fickle’); quartet: Bella figlia dell'amore (‘Fairest daughter of love’). This justly famous quartet is led by the Duke, and he is joined by Maddalena, Rigoletto, and Gilda, each singing of their own thoughts about the scene which is being played out—Maddalena laughing but giving in to the Duke's amorous pleading, the distressed Gilda brought here by her father to observe how the Duke behaves, and Rigoletto bent on vengeance. It has been recorded many times (often coupled with the equally famous sextet from Donizetti's Lucia di Lammermoor). The most celebrated disc was made in 1917 with Enrico Caruso, Amelita Galli-Curci, Flora Perini, and Giuseppe de Luca. In the 1832 Victor Hugo play (Le Roi s'amuse), on which the libretto is based, the action took place in the French court and the main character was the King but production in this form was forbidden by the censor. In order to have the opera accepted for performance, Verdi and Piave moved the setting and altered the names of the characters, the tenor role becoming the Duke of Mantua. Created (1851) by Raffaele Mirate.
Rigoletto - Questa o quella - Act I
Rigoletto - 'La donna è mobile' (Verdi- act 3; Vittorio Grigòlo, The Royal Opera)
Rigoletto: Baritone. A widower, father of Gilda and court jester to the Duke of Mantua. He is a hunchback and spends his professional time making snide comments about the Duke's guests. Despite all his sourness, Rigoletto mourns the loss of his wife and truly loves his daughter, whom he keeps well hidden from undesirable suitors. To get his own back on Rigoletto for his jibes, Count Ceprano arranges to abduct Gilda. He even enlists the jester's help, pretending it is all an innocent prank, and Rigoletto allows himself to be blindfolded and then holds the ladder tavern. She is killed and put into the sack which is handed over to Rigoletto, who believes it contains the Duke's body. As he gloats over his revenge, he suddenly hears, in the distance, the Duke’s voice, singing... Inside the sack he finds his dying daughter. This is one of the most spine-chilling moments in the opera—or, indeed, in any opera - as it dawns on the devoted father who is in the sack. Aria: Parisiamo! ('How we are alike!'); Cortigiani, vil razza dannata ('Vile, damned race of courtiers'); duets (with Gilda), including: Ah! Deh non parlare al misero ('Do not speak to me of my lost love'); quartet (with Gilda, the Duke of Mantua, and Maddalena): Bella figlia dell'amore ('Fair daughter of love’). Created (1851) by Felice Varesi.
Povero - Rigoletto - Cortigiani vil razza dannata - Ingvar Wixell - Giuseppe Verdi - Rigoletto Act II
Gilda: Soprano. Dauhter of the hunchback court jester, Rigoletto. Since her mother died, her father, who loves her dearly, has kept her secluded in their home, cared for by her nurse Giovanna. The wanton Duke of Mantua has seen her in church and is attracted by her. He slips into the house and introduces himself as a student, Gualtier Malde. They are interrupted by the sound of somebody arriving and the Duke leaves. It is not her father, however, but courtiers who are taking revenge on Rigoletto for the gibes they have suffered from his tongue. Knowing nothing of the jester's background, they assume Gilda to be his lover and have come to kidnap her. She is taken to the ducal palace, where the Duke, now revealed in his true colours, seduces her. Learning of this, Rigoletto is bent on revenge and hires an assassin. Gilda overhears the plans to kill the Duke and hand his body over to her father. She vows to sacrifice herself for the Duke and, dressed as a boy, is killed in his stead. When her father opens the sack containing what he believes to be the Duke's body, he finds his dying daughter. Aria: Caro nome... ('Dear name that I love'); duet (with Rigoletto): Piangi, fanciulla, piangi ('Weep, my child, weep'); quartet (with Rigoletto, the Duke, and Maddalena): Bella figlia dell'amore ('Lovely daughter of love'). Apart from the above aria, there are few opportunities for great solo virtuosic singing for the soprano in this role, the entire opera being more dependent on its duets and ensembles, with which it abounds. Gilda and Rigoletto are among the many Verdi daughter- father relationships at the centre of several of his operas. Created (1851) by Teresa Вrambilla.
Giuseppe verdi (1813-1901)
Caro Nome, (Rigoletto Act I, scene 2) (Gruberova)Conducted by Evelino Pidò
Count Monterone: Baritone. An elderly nobleman whose daughter has been seduced by the Duke of Mantua. He denounces the Duke. When Rigoletto, the court jester, mocks him, Monterone puts a father's curse upon him. Created (1851) by Paolo Damini.
Giovanna: Mezzo-soprano. Nurse who cares for Gilda, Rigoletto's daughter. Created (1851) by Laura Saini.
Sparafucile: Bass. A professional assassin hired by Rigoletto to kill the Duke of Mantua, who has seduced Rigoletto's daughter Gilda. Sparafucile's sister Maddalena agrees to help him by posing as a whore in a tavern and attracting the Duke to her. Maddalena urges her brother to let the Duke go free, and he agrees to do so on condition that whoever enters the inn next will be killed in his place. The next person to enter is killed—it is Gilda in disguise. Created (1851) by Feliciano Ponz.
Maddalena: Contralto. Sister of the professional assassin Sparafucile. She agrees to help him trap the Duike of Mantua but falls in love with him and begs her brother to spare his life. She takes part in the famous quartet: Bella flglia del'amore ('Lovely daughter of love'). Created (1851) by Annetta Gasaloni.
Bella figlia dell’amore - Sutherland & Pavarotti & Jones & Nucci (Rigoletto)
Joan Sutherland (soprano) - Gilda
Luciano Pavarotti (tenor) - The Duke of Mantua
Leo Nucci (baritone) - Rigoletto
Isola Jones (mezzo) - Maddalena
The Metropolitan Opera Orchestra and Chorus/Richard Bonynge
rec. live, Metropolitan Opera, New York, 11 January 1987
Scene 1. The Duke of Mantua’s palace.
At a splendid ball in his palace, the Duke of Mantua boasts to his retainer, Borsa, of his plan to finish his conquest of a young woman who has been at church every Sunday for three months. He has discovered where she lives, and every night he sees a mysterious man enter her house. The Duke has not revealed his identity to the woman. Borsa, meanwhile, admires the ladies at the ball, and the Duke is particularly taken with the wife of Count Ceprano. Borsa warns that if Ceprano were to find out, he might tell the young woman. But the Duke does not care; all women are the same to him (“Questa o quella”). As Countess Ceprano passes by, the Duke flirts with her and escorts her out of the room. Rigoletto, the Duke’s hunchbacked jester, mocks the sullen Count Ceprano, who follows them out in a huff. Rigoletto joins them, laughing.
Marullo, another of the Duke’s retainers, comes in with big news: Rigoletto has a mistress! The courtiers suppress their laughter as Rigoletto arrives with the Duke, who is whispering to the jester that Ceprano is a pest and his wife an angel. Rigoletto advises the Duke, in a voice loud enough for the Count to hear, to carry the Countess off and imprison or execute her husband. Ceprano is enraged. The Duke warns Rigoletto that he has gone too far, but Rigoletto does not care. The courtiers and ladies enjoy the scene immensely. The merriment is interrupted by the sudden entrance of Count Monterone, who threatens the Duke. Rigoletto mocks him for complaining that the Duke has seduced his daughter. Outraged, Monterone swears vengeance. The Duke orders his arrest. As he is led away, Monterone places a curse upon the Duke and Rigoletto for laughing at a father’s grief. Rigoletto is visibly shaken.
Scene 2. An alley outside Rigoletto’s house.
Rigoletto is still upset by Monterone’s curse. A strange man, the sinister Sparafucile, accosts him. He reveals his sword and offers to free Rigoletto from the man who cursed him. The killer’s attractive sister, Maddalena, will lure the victim to their house, where Sparafucile will quietly execute him. Rigoletto declines the offer, and Sparafucile says that he can be found in the alley every night. After dismissing him, Rigoletto reflects that they are alike: both destroy others—Rigoletto with his wit and acerbic tongue, Sparafucile with his sword (“Pari siamo”). He reflects again on Monterone’s curse and rails at Nature for making him deformed and wicked, with no choice but to be a buffoon and no solace but in mocking the Duke’s courtiers.
Rigoletto shakes off his fears and enters the courtyard of his house, where Gilda, his young daughter, throws herself into his arms. Noticing that her father is troubled, she begs him to tell her what is wrong. Gilda, not knowing her own history, wants him to tell her who he really is and who her mother was. Rigoletto, sighing, describes his lost love, a woman who loved him despite his deformity and poverty. Sadly, she died, leaving Gilda to console him. He will not tell her anything else, only that she is his whole life. Gilda accepts his reticence and asks permission to go out into the city, which she has yet to explore. Rigoletto adamantly refuses and pointedly asks if she has already gone out. She says no, and he warns her to be careful. Secretly, he fears that the courtiers will find Gilda and dishonour her. He calls for her nurse, Giovanna, and asks whether anyone has been to the house. She says no, and Rigoletto urges her to keep a close watch on Gilda. His daughter proceeds to comfort him with the image of her mother watching over them from heaven.
Rigoletto hears something outside and goes to investigate. The Duke, disguised in humble clothes, slips into the courtyard and hides behind a tree, silencing Giovanna by throwing her a money purse. Rigoletto returns, asking Gilda if anyone has ever followed her to church; she says no. He orders Giovanna never to open the door to anyone, especially the Duke. The Duke, in his hiding place, is stunned to discover that the woman he desires is Rigoletto’s daughter. Father and daughter embrace, and Rigoletto leaves.
Gilda is stricken by remorse, for she failed to tell her father about the young man who has followed her to church. When Giovanna suggests that he might be a great gentleman, Gilda replies that she would prefer that he be poor; she confesses that in her fantasies she tells him that she loves him.
The Duke emerges from hiding and throws himself at Gilda’s feet, repeating that he loves her. He motions for Giovanna to leave. Gilda, frightened, calls for her nurse, but the Duke presses his suit. She asks him to leave, but his flowery words of love have captured her. She admits that she loves him and asks his name. (Meanwhile, outside, Borsa and Ceprano have found the home of the despised Rigoletto.) The Duke tells Gilda that he is a poor student named Gualtier Maldé. Giovanna comes in to say that she has heard footsteps outside. Fearing that Rigoletto has returned, Gilda urges the Duke to leave. They swear undying love before Giovanna leads him out.
Alone, Gilda reflects on her lover’s name and swears to love him forever (“Caro nome”). Out in the street, however, Ceprano, Borsa, Marullo, and other courtiers, armed and masked, are spying on her. They are stunned by the beauty of the woman they believe to be Rigoletto’s lover. Meanwhile, Rigoletto blunders onto the scene. It is too dark for him to see who is there. Marullo identifies himself and tells him that they are planning to abduct Countess Ceprano for the Duke. To prove it, Marullo hands Rigoletto the key to Ceprano’s nearby palace. Rigoletto likes the plan and asks to be masked like the others. Marullo obliges—with a blindfold—and tells Rigoletto that he is to hold the ladder. The courtiers clamber up the ladder and into Rigoletto’s house. They drag Gilda screaming out of the house; she drops a scarf as they take her off. Rigoletto, still holding the ladder, at first enjoys the joke but then tears off the blindfold. Seeing Gilda’s scarf, he cries out, “Ah! The curse!”
A drawing room in the Duke’s palace.
The Duke, having discovered that Gilda has been taken, but not by whom, rails against her abductors and vows revenge (“Ella mi fu rapita”). Marullo and the others arrive with the news that Rigoletto’s mistress has been kidnapped. The Duke, amused, asks to hear how it was done; as they do so, he realizes that the abducted woman is Gilda. He is overjoyed to learn that they have brought her to his own palace, and he hurries off to see her.
Meanwhile, Rigoletto shuffles in, singing of his grief. The courtiers pretend to feel sorry for him and ask him what is new. As he answers sarcastically, he looks around for clues about where Gilda might be. He finds a handkerchief, but it is not hers. When he asks about the Duke, they say that he is sleeping. Just then a page enters with a message from the Duchess. The courtiers firmly turn him away, first saying that the Duke is out hunting, then that he cannot see anyone right now. Rigoletto realizes that Gilda is with the Duke. The courtiers mock him for losing his mistress, but he reveals that the young woman is actually his daughter. He tries to run into the other room, but they block him. He threatens them, but to no avail (“Cortigiani”). Then he begs for their pity, but they ignore him.
Gilda rushes in, weeping for shame. Rigoletto orders the courtiers to leave. They do so, but they stay nearby to watch him. Gilda tells her father about how she saw a handsome young student at church and fell in love with him at first sight, how he suddenly appeared to declare his love, and how she was abducted soon after (“Tutte le feste al tempio”). Rigoletto consoles her and says they can leave after he does what he has to do.
Monterone and his guards pass by—the aged man is being led to prison. He addresses the Duke’s portrait on the wall, saying that his curse was in vain. As Monterone leaves, Rigoletto swears that he will be avenged (“Sì, vendetta”). He ignores Gilda’s pleas to forgive the Duke, for she loves him in spite of his betrayal.
Outside Sparafucile’s house, by the river.
Rigoletto asks Gilda if she still loves the Duke; she replies that she will love him forever, because he loves her. To prove her wrong, Rigoletto leads her over to an opening in the wall of Sparafucile’s house and tells her to watch. She can see the Duke enter the room and ask Sparafucile for a room and some wine. The Duke sings of woman’s fickleness (“La donna è mobile”). At Sparafucile’s signal, his sister, Maddalena, comes downstairs. The Duke begins to flirt with her. Meanwhile, Sparafucile comes out of the house, draws Rigoletto aside, and asks if the Duke should live or die. Rigoletto says that he will come back later to discuss this. Sparafucile goes off behind the house.
From outside the house, Gilda and Rigoletto watch as the Duke pursues Maddalena. Gilda is in agony but cannot tear herself away, though Rigoletto keeps asking her whether she has had enough (Quartet: “Bella figlia dell’amore”). Rigoletto urges her to go home, change into the male clothing that he has prepared for her as a disguise, and flee to Verona; he will join her tomorrow.
After she leaves, Rigoletto fetches Sparafucile and pays him half the money for the murder. When Rigoletto says he will return at midnight, Sparafucile replies that it is unnecessary and offers to take care of throwing the body in the river. But Rigoletto insists on doing that himself. Sparafucile asks the victim’s name. Rigoletto replies as he leaves, “He is Crime, and I am Punishment.”
A storm is brewing. Sparafucile enters the house; the Duke and Maddalena are still flirting. Knowing the plan, she secretly urges the Duke to leave, but he refuses because of the storm. Sparafucile takes her aside and shows her the money. Then he invites the Duke to stay for the night. The Duke agrees and, lightly singing his “woman is fickle” tune, falls asleep. Maddalena has fallen for the Duke, but Sparafucile is focused on the money. Meanwhile, the storm is worsening. Gilda reappears outside the house, dressed as a man. She looks through the crack in the wall and overhears Maddalena trying to persuade her brother not to kill the Duke. She suggests that when Rigoletto returns with the rest of the money, they kill him instead. But Sparafucile replies that he is no thief. He suggests that if someone else comes to the house before Rigoletto’s return, that person can die in the Duke’s stead; the body of that man will then be delivered to the jester. Maddalena does not think anyone will be coming in such a storm. But this gives Gilda an idea. Seeing Maddalena weep for the Duke makes Gilda determined to substitute her own life for his. At the height of the storm, she pounds on the door and cries out that she is a beggar in need of shelter. Sparafucile, thinking again of the money, gets his dagger ready. Maddalena opens the door, Gilda rushes in, and Sparafucile strikes as everything goes dark.
The storm has abated. Rigoletto arrives, savouring the moment of vengeance. As midnight strikes, he knocks on the door. Sparafucile informs him that the deed is done and shows him a sack with a body in it, but the killer refuses to give Rigoletto a light by which he can identify the body until he is paid the rest of the money. Sparafucile suggests that they quickly throw the body in the water, but Rigoletto wants to do it himself. Sparafucile takes the money and bids him good night.
Rigoletto is overjoyed at the success of his plan. He is about to roll the body into the water when he hears the Duke singing his theme song from inside the house. He pounds on the door, but no one answers. Then he cuts open the sack to reveal his own daughter. She is barely alive. She admits her deceit but she says that she loved the Duke too much, and now she is dying for him. She begs Rigoletto’s forgiveness and promises to pray for him when she is in heaven with her mother. The grieving father begs her to hold on, but she fades away. Crying out, “Ah! The curse!” he falls over her lifeless body.
Some musical numbers
Kristina Mkhitaryan and Dmitri Hvorostovsky sing Rigoletto Duet
Monostatos' Aria - The Magic Flute
Verdi - Rigoletto - Ah!, piu non ragiono!
Plácido Domingo, Ileana Cotrubas, Cornell McNeil, Justino Diaz, Isola Jones, Metropolitan Opera on 7 November 1977, Conductor: James Levine
Verdi - Rigoletto Act II
Parla...Siam soli! Tutte le feste al tempio! Sì! Vendetta, tremenda vendetta!
Rigoletto: Signor...È il sol dell'anima
Love Duet: Signor nè principe...È il sol dell'anima
Gilda: Natalie Dessay
Il Duca di Mantova: Jonas Kaufmann
José Carreras. 3 Arias. Rigoletto. Giuseppe Verdi.
Questa o quella.
Parmi veder le lagrime.
La donna è mobile.
Giuseppe Verdi - Rigoletto - Gualtier Malde.... Caro nome Gilda - Caro Nome - Claudia Nurit Henig
Rigoletto - 'La donna è mobile' (Verdi- act 3; Vittorio Grigòlo, The Royal Opera)
Rigoletto - Mio Padre! ..... Tutte le feste (Gruberova, Wixell)
Rigoletto - 'La donna è mobile' (Verdi- act 3; Pavarotti
1842 - Verdi - Nabucco
1844 - Verdi - Ernani
1851 - Verdi - Rigoletto
1853 - Verdi - The Troubadour
1853 - Verdi - La Traviata
1857 - Verdi - Simon Boccsnegra
1859 - Verdi - A masked ball
1862 - Verdi - The Force of Destiny
1865 - Verdi - Macbeth
1867 - Verdi - Don Carlos
1871 - Verdi - Aida
1887 - Verdi - Otello
1893 - Verdi - Falstaff