Of course, these events stew a recipe for a passionate suspense, murderous impulses, the hiring of an assassin named Sparafucile (Morris Robinson), and a devastating culmination that leaves one deeply moved. This soon involves, as we come to surprisingly discover, Rigoletto’s secret daughter, Gilda (Adela Zaharia), whom he keeps stowed away from all lustful eyes and debauchery however, the Duke not only pursues her, but unwittingly falls in love with the young woman, who was to remain unsullied by men like him. When the Duke tries to seduce the “wrong” woman, who happens to be the daughter of the high-tempered Count Monterone (Craig Colclough), both he and especially Rigoletto incite the wrath of her father via a curse that gradually manifests.
The Duke is joined by his seemingly all-too carefree, mischievous, and oftentimes verbally impudent court jester, Rigoletto (Ambrogio Maestri). The production begins harmlessly as all operas do, as we’re introduced to an amoral playboy, the Duke of Mantua (Michael Fabiano), who chases after oodles of women, many of them married, without any qualms. The Los Angeles Opera has produced an unforgettable rendition of “Rigoletto” at the Dorothy Chandler Pavilion (through June 3rd), led by the conducting expertise of 28-year-old prodigy Matthew Aucoin, first-rate director Mark Lamos, and accomplished chorus director Grant Gershon, who have helped create an emotionally in-depth and immersive “Rigoletto” experience. Morris Robinson as Sparafucile in LA Opera’s 2018 production of “Rigoletto.” Photo credit: Ken Howard/LA Opera
0 kommentar(er)
