BWW Reviews: Arizona Opera's RIGOLETTO Is Grand and Gripping

In the annals of opera, Giuseppe Verdi's Rigoletto is classic drama at its best, exposing the consequences of hybris, venality, and naiveté and the tragedy of unintended consequences.

In the annals of the arts, the fool may be the wisest of characters, mirroring the foibles of his masters. Likewise, deformity a la the hunchback, may convey the withering burden that the fool must bear in the imperious court of his king. Withal, at his core, he is a man, a cauldron of emotion, a holder of secrets.

In this context, the role of Rigoletto, jester to the Duke of Mantua, follows suit. On the one hand, he cavorts among the orgiastic courtiers with vulgar gestures and proddings. He mocks the cuckolded husbands. His is a "tongue of malice." Yet, he is a father and a protective soul, cloistering his daughter Gilda and shielding her (in vain!) from the excesses of the court.

Arizona Opera's production of Rigoletto, directed by Fenlon Lamb, is a noble and well-constructed effort in portraying the ironic misjudgments of its main characters. The Utah Opera's set is visually stunning. Dean Williamson's orchestration perfectly complements the vocalists, aligning tempo and tone with the mood of the scenes and the theme of the songs. It is gifted with notable performances by Peter Volpe as Sparafucile, the assassin; Joseph Barron as Count Monterone; and Beth Lytwynec as the assassin's sister.

It is, however, Sarah Coburn, who defines and gives glory to this production in her sterling tour de force performance as Gilda. Her voice is crystalline in its clarity; her high notes are pure; her coloratura is exquisite. If this were not enough, she acts with soul, effectively capturing Gilda's innocence and vulnerability. Her Caro Nome was riveting and radiant.

Jason Slayden 's performance as the licentious womanizing Duke of Mantua is equally convincing. His voice is rich and flowing, and he gives a distinctive turn as a playboy-type Duke of deceit.

As powerful a voice as Michael Corvino has, I wish he was as compelling and convincing in his portrayal of Rigoletto as Coburn and Slayden are in their roles. The role demands a distinctive physicality and nuanced expressions of Rigoletto's range of emotions that are woefully absent. He seems to stumble around the stage rather than swagger. I wanted to genuinely feel his pain when he cries, at the moment of his bitter revelation, "La maledizione!" It is for the singing, I expect, that the audience excitedly applauded him.

There's work to be done as well in the staging of this production, enhancing its pacing in scenes where the courtiers seem to be aimlessly occupying the stage or where there are not enough props to keep the performers occupied while real stuff is happening. The fault appears most conspicuously in the opening scene where uncertainty looms as to whether this is a ball or an orgy. The director's choice matters.

After all is said and done, however, notwithstanding my critiques, Arizona Opera's production of Rigoletto is grand and gripping and entertaining and very much worth seeing.

Arizona Opera's production now moves to Tucson for a run at the Tucson Music Hall from November 22nd to the 23rd.

Photo credit to Benjamin Freedman