Italian opera in the 19th century was powered by intrigue, lust, revenge and murder. Librettists were invariably drawn to these kinds of stories since they can be turned into effective operas. To be sure, there were a huge number of comic operas written in the 1800s, but high drama and human tragedy has always seemed to bring out the best in a composer.
That was certainly so with Giuseppe Verdi. With the exception of a couple of comedies – the very early Un giorno di regno and the masterpiece Falstaff – Verdi concentrated solely on serious operas. And these works run the gamut of tragedy.
Celena Shafer as Gilda and Guido LeBrón as her father, Rigoletto (Courtesy: Utah Opera)
One of the earliest of these, and his first unqualified success, is Rigoletto, a work that has never lost its popularity and is always one of the go-to operas if a company wants to assure itself a sold out run. And that’s what Utah Opera is banking on. Rigoletto is the company’s next production and will open at the Capitol Theatre on Jan. 21.
The story of Rigoletto is well known to anyone who loves opera. Rigoletto, the jester to the corrupt Duke of Mantua, tries to protect his young daughter Gilda from the immoral life at the court. But despite his best efforts, Gilda falls in love with the Duke. Rigoletto hires the assassin Sparafucile to murder the Duke, but tragedy follows misfortune when Sparafucile unwittingly ends up killing Gilda. A simple but effective storyline that Verdi set to some of his most memorable music.
Recently, conductor Robert Tweten, stage director Tara Faircloth and soprano Celena Shafer met with Reichel Recommends in the Utah Opera Production Studio to discuss Rigoletto.
Tweten, who was in Salt Lake City last season to conduct Falstaff, considers Rigoletto to be among the top 10 operas today. “Falstaff is certainly brilliant,” he said, “but there is a certain gratification for audiences in set pieces.” And the arias and ensemble numbers in Rigoletto are without question among the most recognizable and popular pieces that Verdi wrote.
Faircloth agreed. “There is not a wasted measure in the opera,” she said. “It’s good from page one to the last, and it’s wonderful for first time operagoers.”
What’s appealing in Rigoletto is that audiences can identify with the story, Faircloth added. “It’s the story of a man who spends his life doing what’s best for his daughter, and her death brings on his mental destruction.”
It can be a challenge to make a well known work fresh, but Faircloth said that this production has what it takes. “Many in the cast have sung their roles before,” she said. “Our collaboration has chemistry and we energize each other. That makes every day different and exciting.”
As with most of the productions at Utah Opera, Rigoletto will be staged using traditional sets and costumes. “That helps tell the human story and helps keep it fresh,” Faircloth said. And that’s something Tweten would agree with. “When I’ve done less traditional productions, the audiences are shocked by how misogynistic the opera really is. But there is much more to the story and the characters. The Duke, for example, has a vulnerable side and while Rigoletto isn’t always a great person, he has a big heart when it comes to Gilda.” And Gilda is a “prototype” for Verdi’s innocent heroines.
“You can relate to Rigoletto on so many different levels,” Shafer said. “You can relate to it from a parent’s standpoint in the way in which Rigoletto wants to protect his child.”
And one can also see the story from Gilda’s youthful perspective. “She is full of joy and
From left: Robert McPherson as the Duke; Kirsten Gunlogson as Maddalena; Guido LeBrón as Rigoletto; Celena Shafer as Gilda (Courtesy: Utah Opera)
filled with the energy of youth,” Shafer said. “She does some stupid things because she isn’t fully ready to make the right decisions. She knows that her father adores her and she adores him but she feels trapped, and the Duke is an outlet for her escape.”
This will be Shafer’s first serious role at Utah Opera. She’s sung Gilda and other tragic heroines elsewhere, but at Utah Opera she’s been typecast in comic operas. And she’s absolutely thrilled to finally be able to break out of that box. “It’s nice to do something serious here,” she said. “This will present a different side of me to Utah audiences.”
Shafer still loves doing comedy, but Gilda lets her bring out her full emotional range. “Funny girls are one sided, but serious roles like Gilda are much more substantial,” she said. “And this is a great verismo role.”
Tweten is elated that Shafer is in this production. In fact, he asked Utah Opera artistic director Christopher McBeth about that possibility when he was hired. “I’ve known Celena for years,” Tweten said. “I’ve worked with her many times over the years, especially at (Santa Fe Opera). She’s a fabulous singer and I’m happy she’s in the cast.”
WHAT: Utah Opera, Giuseppe Verdi’s Rigoletto
VENUE: Capitol Theatre
TIME AND DATE: 7:30 p.m. Jan. 21, 23, 25 and 27; 2 p.m. Jan. 29 (running time approximately 2 hours 50 minutes with two intermissions)
TICKETS: $16-$75, discounts available for students with ID (prices will increase $5 when purchased on day of performance)
PHONE: 801-355-2787 or 888-451-2787, for group discounts call 801-533-6683
WEB: www.usuo.org
ALSO: Opera Prelude Lecture by Utah Opera principal coach Carol Anderson, in front of orchestra seating level, Capitol theatre, one hour prior to each performance, free.
ALSO: Question and Answer session with Utah Opera artistic director Christopher McBeth, Founders Room, mezzanine level, Capitol Theatre, immediately following each performance, free.
ALSO: Online Opera Preview Lectures prepared by Paul Dorgan, available by clicking “learn more” button on the Rigoletto page at www.utahopera.org, free.