Review: RIGOLETTO, London Coliseum

The return of Jonathan Miller's brilliant Mafioso take on Verdi's Rigoletto is incredibly welcome after the awkward and confusing version that last appeared at the ENO in 2014. The original production directed by Miller premiered back in 1982, but still feels as sharp and slick as ever.

Set in Little Italy in 1950s New York, Miller uses The Shadows and menace of the mafia to show the absolute control over a society where Rigoletto is the wise-cracking barman, set against the menacing Duke, who seduces his beloved daughter Gilda. As with so many operas, jealousy, revenge and ultimate sacrifice follow.

Nicholas Pallesen sings the title role for the first time; he has a rich baritone and delicate phrasing that helps draw the audience into the dark and flawed character of Rigoletto. The duets with Gilda are particularly well judged, bringing out the tenderness and loyalty of a man who is first and foremost a loving father.

Gilda is one of Verdi's youngest heroines and has a lighter and higher soprano than many of his others. Sydney Mancasola makes her ENO debut as the innocent ingénue and sings her one and only aria "Beloved name" (Caro Nome), with delicate and beautiful precision. Her transformation to self-sacrificing heroine is shown by the time we get to Act II's "All the blessed days" (Tutte le Feste al Tempio), where Mancasola shows a definite shift in power in her voice and showcases some unexpectedly strong lower notes.

Joshua Guerrero makes his London debut playing the 'Duke' with a noticeable slickness. He visibly relishes showcasing his tenor in the instantly recognisable "Women are fickle" (La Donna e Mobile), but otherwise it is not a sparkling or memorable performance.

Barnaby Rea is a highlight as the hauntingly dangerous assassin Sparafucile. His bass is rich and full and he sparks wonderfully off his sister Maddalena, played with sensual aplomb by Madeleine Shaw.

The design remains gorgeous - the plush bar of the opening scene immediately transports you to a time when men wore slick suits and had even slicker hair. Black shades and sharp pocket squares abound. Women are coiffed within an inch of their life, twirling around opulent mid-century bar furniture. This contrasts beautifully with the gritty surroundings of both Rigoletto's tenement block and the sleazy bar which Gilda sees her love, the Duke, betraying her alongside a vintage jukebox (what a clever detail) and peeling walls.

Verdi's colourful score is directed under the gentle but firm hand of Sir Richard Armstrong. Unfortunately, there is quite a lot of disconnect between the orchestra and what is happening on stage. Orchestral surges occasionally drown out some of the singers, such as Nicholas Folwell's Monterone in the first scene, and Elaine Tyler-Hall, director of this revival, often leaves the main characters lost on stage with nothing to do.

Miller's Rigoletto looks as magnificent as ever and there are some thrilling moments, but there are aspects that definitely need stricter attention to restore this production to the glory it deserves.

Rigoletto is at London Coliseum until 28 February

Photo Credit: Alistair Muir

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