Royal Opera's Rigoletto Revival: A Violent, Revelatory Take with Elder in the Pit
The Royal Opera House in London presents a strong revival of Oliver Mears's 2021 staging of Verdi's Rigoletto, a production that evokes a world of privilege, misogyny, and abuse, with conductor Mark Elder delivering a revelatory performance in the pit. This revival, running until 23 April, features standout performances from George Petean as Rigoletto and Aida Garifullina as Gilda, set against a backdrop of artistic decadence and implicit violence.
A World of Privilege and Abuse
Mears's production opens with an emphatic nod to the historical Vincenzo I, the reprehensible Duke of Mantua who was the original target of Verdi's opera. The curtain rises on a still-life tableau, with Fabiana Piccioli's chiaroscuro lighting inspired by Caravaggio, revealing the Duke posing as an armour-clad minotaur, sword poised for the kill. This art-loving Duke, later seen leafing through folders of Renaissance art with tastes leaning toward soft porn and rape imagery, sets the tone for a court where dress-up and depravity reign.
Simon Lima Holdsworth's stonework set suggests Renaissance Mantua, but it quickly becomes apparent that this is a modernised court. The Duke's followers are decked out in flamboyant loungewear designed by Ilona Karas, echoing their master's artistic tastes in a contemporary feel. They are a rotten lot, regaling him in fawning dances choreographed by Anna Morrissey. In the wake of the Epstein files, the staging all too readily evokes a gilded world of privilege, entrenched misogyny, and complicit abuse, making the production feel timely and unsettling.
Performances That Shine
George Petean's Rigoletto is a beetling, shot-nerved bundle of guilt, with a touch of the Tony Sopranos about him. His steely baritone is sensitively judged in Cortigiani, Vil Razza Dannata, pointing up the jester's bitter humiliation and inner turmoil. As Gilda, Aida Garifullina paints a convincing portrait, transitioning from girlish naivety to a conflicted victim of trafficking. With her creamy soprano and elegant phrasing, Caro Nome becomes far more than a mere coloratura showcase, adding depth to her character's tragic arc.
Iván Ayón Rivas portrays an impetuous, shamelessly preening Duke, his bright tenor bursting with Italianate charm, though occasionally wayward in delivery. It is a pity that La Donna è Mobile is set in such an awkward corner of the stage, slightly marring an otherwise compelling performance. William Thomas sings with a dark beauty and supple heft as Sparafucile, blending ruthless killer with self-satisfied artisan, while Anne Marie Stanley's booze-soaked Maddalena cuts a sympathetic figure, forced to ply her trade in a rancid bedroom.
Violence and Theatrical Realism
Physical violence is played up throughout the production, with the Duke's blinding of Monterone on a whim as shocking as parallel scenes in King Lear, reminiscent of the startling execution in Mears's recent Tosca. Sexual violence, however, remains mostly implicit, with complex scenes clarified through careful blocking. There is an occasional over-reliance on operatic gestures and romantic clinches that undermine expressive truth, but the tumultuous Act III rainstorm provides a marvellous splash of theatrical realism, enhancing the drama's emotional impact.
Elder's Masterful Conducting
Steering the ship is Mark Elder, an immensely experienced Verdi conductor whose measured pacing of the score and attention to instrumental detail is frequently revelatory. His thoughtful approach guarantees emotional weight and lyrical flexibility, never failing to bring home the dramatic bacon. Elder's leadership ensures that the musical elements complement the staging's violent and misogynistic themes, making this revival a powerful and cohesive theatrical experience.
This production of Rigoletto at the Royal Opera House offers a compelling exploration of abuse and privilege, backed by strong performances and masterful conducting. It runs in London until 23 April, providing audiences with a thought-provoking take on a classic opera.
