Is it my favourite Rigoletto of all time? No, the one to watch is the 1982 Jean Pierre Ponnelle film with Wixell, Pavarotti, Gruberova and Furlanetto. Tito Gobbi's 1949 film and the Lucic/Damrau and Gavanelli/Schafer productions are also worth watching. But this Zurich performance I found to be outstanding, one of their better ones I've seen recently, considering how uneven some of them have been that's saying a fair bit. I did like the production values very much. True, they are not sumptuous like in Ponnelle's film, but the dark lighting and settings add much to the atmosphere. Overall it does do wonderfully in evoking the splendour and seediness of the Duke's court and the darker, more tragic events of the third act. The picture quality and video directing are clear and don't intrude in the drama.
The staging was overall gripping. The Duke's court is suitably vigorous, Rigoletto's encounter with Sparafucile is foreboding and Rigoletto and Gilda's duets tender. But the standout was Act 3, dramatically I found it a knockout, especially the quartet and the climatic trio. The stuff offstage with the band at the start and the Duke's La Donna E Mobile reprise proved effective also. Musically the production is faultless. The chorus are vibrantly sung and not static or in mugging mode, and the conducting from Nello Santi shows attention to command and nuances. But it was the orchestral playing that was the star, the standout moments being the dense high strings and woodwind as Gilda is dying which is enough to move anyone to tears, and the beautifully-played oboe solo in Gilda's Tutte La Feste.
Though the energy of La Donna E Mobile and Questo e Quella, the power of Si Vendetta and the climatic trio and the poignancy of Cortigiani and Parmi Veder Le Lagrime are done just as well. The sound does a good job of being balanced between the orchestra and the voices on the most part. The only let down in this respect is the odd occasion when we can hear instrumental sound from behind. The performances are wonderful. Starting with the title role, Rigoletto, Leo Nucci is a revelation. Of the three times I've seen him in the role, the others being productions from 1991 with June Anderson as Gilda and 2001 with Inva Mula in the same role, it was here where he was at his best. He sings powerfully and with emotion, and embodies all the elements of this role(the other two times it was most). You really feel Rigoletto's lancing wit and self-loathing when you first meet him, his malevolence and poignancy in Cortigiani, his thirst for revenge in Si Vendetta, his fatherly love and tenderness in his duets with Gilda, his riotous triumph as he gloats over who he thinks is the duke in the sack and his anguish for the La Malediozione.
Piotr Beczala is great as the Duke. From the first time I encountered him in the Met's Lucia Di Lammermoor I knew he showed promise, and he continues to impress. His Duke is witty, cynical and also quite seedy, plus when he is seducing Maddalena in Act 3 there is nothing whatsoever mechanical about Beczala's acting. His singing is of a lovely, honeyed tone, and done with zesty vigour(Questa e Quella) and affecting poignancy(Parmi Veder Le Lagrime). Un Di, Se Ben Rammentomi...is difficult to resist. Elena Mosuc is a Gilda who doesn't just have and hit the high notes but she is not afraid of them either. Her voice is not the sweetest-toned of all Gildas, but still flexible and focused, and her acting shows girlish naivety and a moving rapport with Nucci. Gualtier Maldè, Nome Di Lui Sì Amato is a highlight.
Laszlo Polgar's Sparafucile has an imposing presence and is really quite scary. His voice is not quite what you call black-hearted, but it is very controlled and authoritative which is more than enough for me actually. Katharina Peetz is a seductive and knowing Maddalena, whose acting contributes very much to the success of the last act. Her voice is good if not powerful. Kismara Pessati is very good as Giovanna. Rolf Haunstein is not quite on the same level. Gilbert DeFlo the stage director does deserve credit for not weakening Monterone's hold over Rigoletto, like the Graham Vick performance did(with Carlos Alvarez in the title role), but I do find Haunstein a little too blustery here. Overall, outstanding. 9/10 Bethany Cox
The staging was overall gripping. The Duke's court is suitably vigorous, Rigoletto's encounter with Sparafucile is foreboding and Rigoletto and Gilda's duets tender. But the standout was Act 3, dramatically I found it a knockout, especially the quartet and the climatic trio. The stuff offstage with the band at the start and the Duke's La Donna E Mobile reprise proved effective also. Musically the production is faultless. The chorus are vibrantly sung and not static or in mugging mode, and the conducting from Nello Santi shows attention to command and nuances. But it was the orchestral playing that was the star, the standout moments being the dense high strings and woodwind as Gilda is dying which is enough to move anyone to tears, and the beautifully-played oboe solo in Gilda's Tutte La Feste.
Though the energy of La Donna E Mobile and Questo e Quella, the power of Si Vendetta and the climatic trio and the poignancy of Cortigiani and Parmi Veder Le Lagrime are done just as well. The sound does a good job of being balanced between the orchestra and the voices on the most part. The only let down in this respect is the odd occasion when we can hear instrumental sound from behind. The performances are wonderful. Starting with the title role, Rigoletto, Leo Nucci is a revelation. Of the three times I've seen him in the role, the others being productions from 1991 with June Anderson as Gilda and 2001 with Inva Mula in the same role, it was here where he was at his best. He sings powerfully and with emotion, and embodies all the elements of this role(the other two times it was most). You really feel Rigoletto's lancing wit and self-loathing when you first meet him, his malevolence and poignancy in Cortigiani, his thirst for revenge in Si Vendetta, his fatherly love and tenderness in his duets with Gilda, his riotous triumph as he gloats over who he thinks is the duke in the sack and his anguish for the La Malediozione.
Piotr Beczala is great as the Duke. From the first time I encountered him in the Met's Lucia Di Lammermoor I knew he showed promise, and he continues to impress. His Duke is witty, cynical and also quite seedy, plus when he is seducing Maddalena in Act 3 there is nothing whatsoever mechanical about Beczala's acting. His singing is of a lovely, honeyed tone, and done with zesty vigour(Questa e Quella) and affecting poignancy(Parmi Veder Le Lagrime). Un Di, Se Ben Rammentomi...is difficult to resist. Elena Mosuc is a Gilda who doesn't just have and hit the high notes but she is not afraid of them either. Her voice is not the sweetest-toned of all Gildas, but still flexible and focused, and her acting shows girlish naivety and a moving rapport with Nucci. Gualtier Maldè, Nome Di Lui Sì Amato is a highlight.
Laszlo Polgar's Sparafucile has an imposing presence and is really quite scary. His voice is not quite what you call black-hearted, but it is very controlled and authoritative which is more than enough for me actually. Katharina Peetz is a seductive and knowing Maddalena, whose acting contributes very much to the success of the last act. Her voice is good if not powerful. Kismara Pessati is very good as Giovanna. Rolf Haunstein is not quite on the same level. Gilbert DeFlo the stage director does deserve credit for not weakening Monterone's hold over Rigoletto, like the Graham Vick performance did(with Carlos Alvarez in the title role), but I do find Haunstein a little too blustery here. Overall, outstanding. 9/10 Bethany Cox
