Rigoletto

Rigoletto - between Darkness and Light

In one of his letters, Giuseppe Verdi (1813–1901) wrote the following: “This is perhaps the greatest drama of modern times, the jester Triboulet is a creation worthy of Shakespeare.” His excitement referred to the play in verse written by Victor Hugo (1802–1885) Le Roi s'amuse and its main protagonist – the court jester, the hunchback Triboulet. 
The composer was so inspired by the play that the first “sketch” of the opera, originally titled The Curse, was written in one breath and actually represented a complete work that, with minor changes, he finished in only 40 days. At the same time, he tried to stay as close as possible to Hugo’s original text. He only needed to overcome the censorship of the Austrian authorities of the time, which, like the French ones, did not look kindly upon this subject. A long time passed before Verdi and the librettist Francesco Maria Piave finally found a compromise solution – they moved the action to Italy, transformed the French king into the Duke of Mantua, and changed the title of the work to Rigoletto.
The two giants, Verdi and Hugo, shared great respect for the third – William Shakespeare (1564–1616), who for both was an example and an inspiration in their approach to theatrical creation. Hugo had already suggested the principles of romanticism in the preface to his first play Cromwell, demanding “a drama in verse in which the contradictions of human existence – good and evil, beauty and ugliness, tears and laughter – would be depicted by combining tragic and comic elements in one performance,” inspired by Shakespeare. Hugo introduced characters in his theatre similar to those he admired in Shakespeare’s plays, people from the common folk such as the jester Triboulet. On the other hand, from an early age, Verdi had read Shakespeare’s works and throughout his career, composed several operas based on his plays (Macbeth, Othello, Falstaff). It is precisely the elements of drama that Hugo mentioned, in the form of strong contrasts that inspired Verdi. He believed that the work possessed powerful dramatic situations, variety, vitality, and pathos, and that the entire dramatic development of events stemmed from the debauched, unrestrained character of the Duke. He is the cause of Rigoletto’s fears and Gilda’s passion, from which many dramatic moments arise, concludes the composer. According to Maestro Antonio Pappano, the elements of comedy in Rigoletto allow Verdi to create the impression of light and darkness, that is, the Shakespearean idea of contrast. The result is a rhythm of the performance that is shocking, disturbing, and incredibly theatrical. Verdi managed to make the action unfold continuously, almost without interruption, and with no room for applause.
Instead of an overture, the opera begins with an orchestral introduction featuring the motif of the curse, which sets the tone for the entire performance, and is then followed by a complete contrast – a scene of festivity at the Duke of Mantua’s court, which will be abruptly interrupted when Monterone enters and spoils the celebration with his, for Rigoletto, terrifying curse. The character of Rigoletto is full of contrasts; on one hand, there is what the public sees – his deformed exterior and his profession as the court jester, and on the other, he is a doting father full of love for his daughter Gilda. Verdi colours his various emotional states with music, from fear and anger to tenderness, and a turning point is represented by the scene with the aria in Act II, “Cortigiani, vil razza dannata,” the moment when, in front of everyone, Rigoletto removes his jester’s mask and is shown for the first time as an ordinary man with his misery. As Gordan Dragović describes, “the helpless Rigoletto responds first with flattery, then with anger, and finally with pleas, creating, along with the chorus, one of the most beautiful scenes in opera history.”
All these contrasts will unite in another memorable moment in this opera – the quartet from Act III, where four different characters and moods are depicted by the music, or, as Julian Budden puts it: “The Duke's ardour, Maddalena's coquettish laughter, Gilda’s misery, and Rigoletto’s dark threat merge into something that seems like a single melody with multiple faces.” The story goes that Hugo said he would have achieved the same effect if it were possible for four people to speak at the same time in a play and for everyone to understand them, thus highlighting the power of music. The famous Duke’s aria “La donna è mobile”, which was performed three times at the premiere as an encore and immediately began to be hummed in the streets, served Verdi to achieve an extraordinary dramatic effect in the opera’s finale. At the moment when Rigoletto hears this aria from a distance, he is shocked to discover that, instead of the Duke, it is his dying daughter Gilda before him, and the cheerful melody in such an atmosphere takes on a terrifying effect. 
The premiere of Rigoletto was held on March 11, 1851, at La Fenice Theatre in Venice, with incredible success, and was performed more than 20 times during the carnival period. Although Verdi was already famous and had operas like Nabucco, Ernani, Macbeth, and Attila already composed, Rigoletto brought him immense popularity. The critics, although not enthusiastic about the choice of subject, were struck by the innovations in this opera: in the music, style, and even the form of the numbers, and they were impressed by the orchestration and the orchestra that expressed emotions as if it had its own voice.
By 1853, Verdi would compose Il Trovatore and La Traviata, which, along with Rigoletto, would become the most famous works in the operatic repertoire. These operas marked a major transformation in the singing style. A whole new generation of singers would emerge, trained to meet the demands of this new music - demands that combined stable vocal technique with powerful dramatic intensity. These would be works that primarily glorified the beauty and power of the human voice.

Vanja Kosanić

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CONTENT 

The action takes place in the 16th century in Mantua and its surroundings.  

ACT ONE 
Scene One – At the Duke of Mantua’s Court  

After a brief prelude, which introduces the tragic tones of Monterone’s fatal curse, the scene shifts to the debauched life at the Duke’s court. The Duke tells Borsa that he has been watching an unknown girl for some time, but has been unable to approach her. At the same time, he admires the beauties present (Duke’s aria). Marullo brings shocking news: Rigoletto, the old, hunchbacked court jester, has a hidden lover. During the dance, the Duke attempts to get close to Count Ceprano’s beautiful wife, while the Count follows him closely. Rigoletto appears and, with his crude jokes, advises the Duke to get rid of Ceprano, even if it means having him beheaded! Suddenly, a threatening voice is heard from outside - it is the old Count Monterone, whose daughter has been dishonoured, and who had been sentenced for rebelling against the court but was later pardoned. The Duke refuses to speak with him. Rigoletto mocks him, while the grieving old man puts a curse on everyone present. The curse leaves a terrifying impression on Rigoletto.  

Second Scene – A Street in front of Rigoletto’s House
In a house on the outskirts of the city, Rigoletto jealously guards his daughter, knowing that if the courtiers were to find about her, they might harm her out of revenge against him. He arrives in the dark night, still under the impression of Monterone’s curse. From the dark, a stranger approaches him and offers his services - a paid assassination. The man warns Rigoletto that other men are lurking around his beloved. Rigoletto has not yet made a decision, but he inquiries about the possibility of commissioning the murder of a nobleman. Sparafucile is at his service: his blade is sharp and swift, and his beautiful sister, Maddalena, helps him lure victims.  Left alone, Rigoletto struggles to shake off his dark thoughts and rushes into the garden to embrace his daughter, who runs out to meet him. Gilda has been in the city for three months now, but her father never allows her to leave the house except to go to church. She questions him about his name and her mother, whom she never knew. Rigoletto hides his real name and tells her that her mother was a wonderful and kind woman who passed away. The sound of footsteps in the street unsettles Rigoletto, and he runs into the darkness to see who is passing by. Behind Rigoletto’s back and unnoticed by Gilda, the Duke, disguised, sneaks into the house with the help of Gilda’s bribed companion, Giovanna. Seeing no one outside, Rigoletto returns and warns Giovanna to guard Gilda well and to let no one into the house - not even the Duke himself. Once Rigoletto leaves, the Duke steps forward to the bewildered Gilda, swearing eternal love and pretending to be a poor student named Gualtier Maldè. Gilda has already noticed him in church and has fallen in love, delighted now to discover that he is as poor and humble as she is. Hearing footsteps again, the Duke is forced to leave, bidding Gilda farewell. She remains alone (Gilda’s aria).  In the dark street, masked men gather: these are the courtiers led by Marullo and Ceprano, who have come to abduct Rigoletto’s beloved. Meanwhile, Rigoletto is also wandering through the darkness and encounters them. Marullo manages to calm him down, telling him that they are there to abduct Ceprano’s wife. Relieved, Rigoletto maliciously offers to hold the ladder himself. They blindfold him under the pretence of giving him a mask and lead him through the darkness to the fence of his own house, and with his unaware assistance kidnap Gilda. Once they have all disappeared, Gilda’s cries for help are heard from afar.  Rigoletto does not hear her and he realises too late that the courtiers had tied a blindfold over his eyes instead of a mask. Sensing disaster, he rushes into his home, but Gilda is gone. In despair, Rigoletto suddenly realises that this is his punishment for the insult he had inflicted on the unfortunate father, Monterone.

ACTO TWO 

    In his palace, the Duke laments for Gilda, who was abducted that night by unknown men (Duke’s aria). The courtiers arrive and excitedly tell him how they kidnapped Rigoletto’s beloved and brought her to the palace. Thrilled, the Duke rushes off to revel in her innocent beauty. From afar, Rigoletto’s sorrowful singing can be heard. The courtiers mockingly greet him, asking if there is any news. Rigoletto carefully steers the conversation toward the abduction, but the courtiers pretend to know nothing. The page of the Duke’s wife arrives, searching for the Duke, but the courtiers quickly dismiss him. At that moment, Rigoletto realises that Gilda is inside the palace. When the courtiers mock him, suggesting that he is looking for his beloved, Rigoletto responds in a terrifying voice that he is searching for his daughter! The courtiers are taken aback, but the damage cannot be undone. They stop Rigoletto from entering the Duke’s chambers. Enraged, Rigoletto hurls accusations at them for their cruelty, then pleads with them to have mercy and return his daughter, but they remain silent (Rigoletto’s aria).  
Gilda rushes out of the Duke’s chambers, ashamed and in tears. Rigoletto drives away the stunned courtiers and listens to his daughter’s innocent confession of love for the unknown young man that the Duke pretended to be. The guards escort Monterone to prison. Rigoletto swears to avenge both himself and the unfortunate old man. Gilda begs him to forgive the culprit, but Rigoletto harshly refuses.

ACT THREE

    In a secluded tavern on the riverbank, Sparafucile waits for his rare guests. In the dead of night, Rigoletto arrives, bringing Gilda, disguised as a young man, to show her the Duke’s deceitfulness. The Duke arrives (Duke’s aria).  
Through the fence, Gilda watches as the Duke passionately flirts with Maddalena (quartet). Rigoletto then sends Gilda away, instructing her to ride immediately to Verona, promising to join her later. He then arranges with Sparafucile the murder of an unknown young man, without revealing his name. However, Sparafucile’s sister, Maddalena, has taken a liking to the stranger and urges her brother to spare him, even if it means killing the old man instead. Gilda, who has returned, overhears their conversation and senses her father’s intentions. Although she witnessed the Duke’s adultery, she still loves him so much that she is willing to sacrifice herself in his place.  
When she overhears Maddalena and Sparafucile planning to murder a random traveller in the night to deceive Rigoletto, she sacrifices herself, knocks on the door and falls under the assassin’s blade.  
A terrible storm starts, marking the passage of time until midnight - the agreed-upon moment for the payment. Rigoletto arrives, overjoyed that he has taken his revenge on the Duke. When the clock strikes midnight, Sparafucile emerges with a sack, handing over the body to Rigoletto and accepting his payment. Gloating over his vengeance, Rigoletto suddenly hears the Duke’s mocking song from the bridge.  Shocked, he opens the sack and, by the flash of lightning, sees the dying Gilda. With her last breath, she begs for his forgiveness and dies in his arms. In despair, Rigoletto realises that this is the fulfilment of old Monterone’s curse.