Jonathan Miller created his version of Rigoletto over 40 years ago – though you’d never have guessed it when the ENO brought it home again for its Coliseum season. Miller’s relocation from Renaissance Mantua to the 1950’s New York underworld is as compelling as ever and the jokes (notably the faulty jukebox in La donna è mobile) just as fresh.
Don’t expect too many jokes, though. This is one of Verdi’s darkest operas and, from the very first notes of the overture, played with vigour and passion by the ENO Orchestra under the baton of Richard Farnes, this is a night ominous with darkness and horror.
Behind the glamorous cocktail dresses (not to mention the violin case toting hoods) of the opening party in Rigoletto’s bar, lies a world of casual violence and cruelty. At its heart is the Duke, a narcissist of a mobster who specialises in serial seduction and rape. His henchman is Rigoletto whose hunchback has made him an outcast – while his coruscating wit has made him plenty of enemies. When he mocks Monterone (good to see David Kempster back at the ENO), the old man responds with a curse and Rigoletto starts to be controlled by the superstitious dread that is to become his destiny.
As the Duke, shiny suited and continually combing back his Elvis quiff, Chinese tenor Yongzhao Yu oozes villainy so obviously it is difficult to see why Gilda, Rigoletto’s closeted daughter, falls for him. But fall she does and Robyn Allegra Parton’s silvery soprano is a joy in her coloratura moments and, perhaps most of all, in her duets with her father. As Rigoletto, Weston Hurt is a formidable physical presence with a fine, rich baritone. His collapse into despair cannot fail to touch the heart.
Robyn Allegra Parton as Gilda and Yongzhao Yu as the Duke in ENO’s Rigoletto
When the Duke’s mob decide to abduct Gilda from the West Side Story-like setting of dark back streets and fire escape stairs, they think she’s Rigoletto’s mistress, not his daughter. Delivered to their boss, raped and humiliated, Gilda still clings to the idea that not only does she love him but he loves her too. Rigoletto embarks on his vendetta, seeking vengeance through the agency of Sparafucile (a star turn from bass William Thomas) and his dagger.
Determined that the scales fall from his daughter’s eyes, Rigoletto takes Gilda in a scene straight out of an Edward Hopper painting, to see the Duke embark on his latest seduction. This time his prey is Maddalena (Amy Holyland voluptuously excelling in this cameo role) who is actually the bait set to catch the Duke and deliver him into the hands of her brother, Sparafucile. Of course, all the plans unravel (there’s little honour amongst these thieves) and Monterone’s curse builds to its inevitable end and Rigoletto’s and Gilda’s terrible destiny.
For anyone new to opera, Rigoletto is a formidable introduction, a dark, compelling tale full of drama, pathos, finely drawn characters and some truly wonderful singing. Miller’s Godfather-era retelling is still a masterpiece.
Rigoletto runs at the Coliseum until 21st November. For more information, and for tickets, please visit www.eno.org.
Photos by Tristram Kenton
