Review: The Met's 'Ratpack' RIGOLETTO and the Art of Making Opera

The Met's current production of Verdi's RIGOLETTO is often referred to as the "Ratpack" version--because it is set in the Las Vegas days of Frank Sinatra and his high-living cronies. From its debut, it was a huge success for the company and with good cause. It was brilliantly conceived and sung, even though the title role seemed fuzzier than it usually is in the standard setting. But how would it stand up, season after season, I wondered, when the novelty wore off? The good news is that the production (excitingly designed by Christine Jones) not only remains effective and entertaining, but, in a key way, it is even better than at the premiere nearly three years ago.

The production was the brainchild of Broadway director Michael Mayer, a Tony winner for SPRING AWAKENING (based on the play by Frank Wedekind, who also wrote the works that inspired Berg's opera LULU), and currently directing a new production of FUNNY GIRL in London. He clearly had affection for the opera and handled the transformation from 16th century Mantua to mid-20th century Las Vegas logically (or mostly). The Vegas Rigoletto was purportedly based on the "jesters" of Sinatra's crew, Joey Bishop or Don Rickles, but at the production's premiere, the character didn't seem worked out and was the one weak link. Mayer seemed to forget that the name "Rigoletto" comes from the French (based on a play by Victor Hugo) rigoler, to have fun.

Now, the updated role seems to have been rethought so that its comic aspects make more sense, at least in the hands of baritone Zeljko Lucic, a fine actor who originated the role in this version and who I heard again on his first night back in the production this season. (Mayer had been back to work with the season's opening cast, featuring rising soprano Olga Peretyatko as Gilda, tenor Stephen Costello as "Duke" and baritone George Gagnidze in the title role.) Another returnee at the performance I saw was tenor Piotr Beczala, who had made quite a splash as Duke at the production's opening. Soprano Peretyatko continued as Gilda, which had been well-received earlier in the fall.

Unfortunately, this combination of singers only had two outings together--and they needed much more time for their performance to gel. Even though Lucic and Beczala had previously worked together in the production, their reunion this season was, to put it politely, "off."

Lucic, in particular, while doing an outstanding job of making this Rigoletto into a three-dimensional character, seemed incapable of singing an entire aria in tune. This was particularly noticeable in his duets with Peretyatko, and her performance seemed to be thrown by it. The end of their duet, after he rescues her from Duke's clutches, was painful to the ears, as he unsuccessfully grasped for notes. Singing on his own, however, he brought dramatic power to his arias, with a chilling "Corteggiani!" in Act II, and it was easier to forgive his variable intonation.

Beczala had his own problems. Whether this had to do with the lack of rehearsal time (always a problem in opera houses, when there are frequent cast changes) or other issues, as he takes on heavier roles, I cannot say. Here, he was properly suave as Duke, but seemed vocally strained, from the highly exposed "Questa o quella" at the start of the opera, though he did recover in Act III with a standout "La donna e mobile."

Of the three principles, Peretyatko fared best, showing the evolution from the school-girl Gilda of Act I's "Caro nome," in a beautifully sung, heartfelt and dreamy rendition, to the violated virgin of Act II, and finally, to the dying young woman, sacrificing herself for love, of Act III (performed here in the trunk of a Cadillac). But keeping her performance on track when partnering with a singer having vocal issues proved distracting and difficult, leaving her off balance.

Two singers, in smaller but key roles, took the evening's honors. Bass Stefan Kocan was a standout as the sleazy hitman, Sparafucile, singing richly and with impressive breath control. Swedish mezzo Katarina Leoson, making her Met debut, was very fine as his morally bankrupt sister--willing to sacrifice anyone to keep Duke alive--with sensual singing in the "Bella figlia dell'amore" quartet in Act III.

Even the usually reliable Met Orchestra seemed less than invincible on this occasion, though the Met Chorus was in high form. Could more effort from conductor Pablo Heras-Casado have helped the principals along with their performances? Under the circumstances, it's unlikely. Only more time in rehearsal could have done that.

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