Music World

Washington National Opera’s Rigoletto

By vera tilson

APRIL 2008

It is a testament to the genius of Giuseppe Verdi that he could take the unsavory character of the court jester Rigoletto, and build an opera around him that finds the humanity in the character. The story stems from a never performed play by Victor Hugo banned for fifty years because of a response to the link between power and corruption. Verdi, attracted by the power of the central character, struggled mightily to finally bring it to the stage.

The meanness that the jester cultivates to please his employer, the libertine Duke of Mantua spreads to his court. Rigoletto has a young daughter that he tries to protect. This turns out to be his secret and his weakness. The courtiers decide to revenge themselves against Rigoletto by kidnapping his daughter Gilda whom they mistakenly believe to be his mistress and deliver her to the Duke.

The Duke has already met Gilda and charmed her. She sings of her new love in one of Verdi’s most gorgeous arias, “Cara Nome”. This aria, sung exquisitely by Russian soprano Lyubov Petrova with faultless ease and heartbreakingpathos. We first discovered Russian soprano Anna Netrebko when she sang this aria in a previous WNO production.

 Carlos Alvarez performed and sang the title part of Rigoletto with such conviction that he aroused a sympathetic chord in me, at least. His acting particularly shone in act II when he faced the cruel courtiers. His aria “Corigiani, vil razza dannata” ran the gamut from defiance to begging for his daughter. The human tragedy was overwhelming. As the sleazy Duke, Joseph Calleja created a dashing though immoral character. His tenor voice had power and quality as displayed in his great aria “La donna è mobile”.

Polish mezzo-soprano Malgorzata Walewska as Maddalena and Italian bass Andrea Silvestrelli as Sparafucile made auspicious debuts with the company. Catherine Malfitano debuted with WNO as director. As soprano she had recently brilliantly sung in two operas for the company. Her direction was clear and direct without any of the gimmicks that have become fashionable.

Not least is how good the Opera House orchestra has become. They responded beautifully to the knowing conducting of Giovanni Reggioli.

Rossini’s Bianca e Falliero

Washington Concert Opera presented Rossini’s “Bianca e Falliero” under Maestro Antony Walker and turned it into another evening with a standing ovation at the end.

All the main parts in this opera required a remarkable amount of coloratura singing. Every musical phrase was decorated within an inch of it’s life. This lengthened the plot endlessly. The part of Falliero is known as a “trouser” role--a male role played by a woman and in this case sung by mezzo-soprano Vivica Genaux. Genaux fully occupied the part with remarkable singing and forceful acting.

The Venetian Senator Contareno wanted to enhance his fortune with the marriage of his daughter Bianca to another Senator, Capellio. Contareno tries to railroad his daughter who loves the soldier Falliero. Bianca, sung by soprano, Anna Christy, tries to resist her father’s control. Anna Christy inhabited the part with sweetness and extraordinary vocal agility. As Contareno, Charles Workman displayed a knockout tenor, strong and sure. Baritone Daniel Mobbs sang Capellio with warmth and compassion. Smaller parts were well done.

The fine orchestra under Maestro Antony Walker played with sensitivity and grace.