On Monday Nov. 11, the Metropolitan Opera revived Verdi's Rigoletto in the production by Michael Mayer. The performance featured an all-star cast that included Dmitri Hvorostovsky and Matthew Polenzani as well as debutante Irina Lungu in the role of Gilda. Oksana Volkova and Stefan Kocan filled out the remainder of the cast.
Latinos Post published reviews of Mayer's production last season when it premiered; there is little to add on this particular occasion as the more general scenic details remain virtually intact. Any major changes were brought about by the singers themselves.
Leading the charge in the title role was the seemingly invincible Hvorostovsky. One of the common problems with this production is that it fails to truly define Rigoletto's role in the Duke's gang. Is he a friend? Does he work at the casino? None of this is ever truly established by Mayer's production and prior interpreters hinted at differing perspectives but never truly managed to give the viewer a firm grasp on the character in this regard. From the outset, Hvorostovsky makes it clear that this Rigoletto is a rather odd fellow and there are hints of some mental deficiency in some of his awkward movements and his constant attempts to gain attention from the Duke's comrades; they seem to let him tag along out of pure pity for his loneliness. This helps explain why he does their bidding willingly; he is after all lonely in the world and likely rejected for his oddness. As he makes his first entrance Hvorostovsky races on stage like a child wielding a sword, his eyes wide open and his mouth almost like a dog salivating. The character moved about throughout the night with a limp that emphasized the awkwardness. As the night develops, Hvorostovsky's characterization becomes increasingly internalized as the aforementioned physical traits become less and less apparent. Hvorostovsky was magnificent vocally, his voice surprisingly gaining in strength as the night wore on. The baritone's rugged sound paired brilliantly with his characterization of the increasingly broken man; his "Cortigiani! Vil Razza Dannata" was filled with tremendous poetic anguish. At the start of this aria, Hvorostovsky was all "sound and fury" as he spewed his hatred about. After eschewing his insults, he fell to the floor and begged; his voice softening but ever powerful. By the end of the aria, Hvorostovsky's audibly deep and quick breaths added a poignant urgency to the anguished singing; it was a moment of spectacular beauty. During the ensuing duet with his daughter, Hvorostovsky's stone-faced expression gave way to a more compassionate treatment of Gilda; his voice followed a similar trajectory. The "Si Vendetta" that ends Act 2 was one of Hvorostovsky's major crowning moments. While most baritones seem to falter a bit in this heavy segment, Hvorostovsky seemed to grow in his conviction and he held the final high F almost throughout the entire orchestral coda; the rage and power that Rigoletto feels in that moment could not be more aptly expressed. Hvorostovsky's big moment in the final act came during the ending duet in which Rigoletto discovers his dying daughter in the trunk of a car. Whereas previous iterations of the production allowed Gilda to die in the car, Hvorostovsky's Rigoletto opted for giving his daughter a more honorable death. He lifted her out of the trunk and carried her while singing; note that he did not put her down right away but held her momentarily. The bravery displayed here by Hvorostovsky was only topped by his decision to sing the final "La Maledizione" over the orchestra in a higher register than is often called for.
Lungu made a terrific debut in the role of Gilda. Her voice is far from what one might be accustomed to in the role. Whereas one might expect a light and bright sound for Gilda, Lungu brings an earthy, dark and heavy vocal quality. Some might see this as a disadvantage and assume that Lungu lacks the flexibility to pull off the stratospheric high notes of the roll. However, this is far from the case. Lungu's "Caro Nome" was as confident as could be and included a number of astonishing polished trills and coloratura leaps. During the leaps there was a stronger sense of connection between the notes that gave the phrasing a more striving quality. Her singing in the second act duet "Tutte le feste al tempio" had raw intensity that only a voice of her quality and volume could provide while the subsequent pleas in the "Si Vendetta" managed to pierce through the explosive orchestra. Many lighter-voiced sopranos get lost in the fray of this duet when faced with a massive orchestral sound and an equally potent baritone to sing alongside; that was far from the case with Lungu as she matched both the orchestra and Hvorostovsky exchange for exchange. Lungu's massive voice also proved to be a tremendous resource during the quartet "Bella Figlia dell'amor" as it soared over the other singers to poignant dramatic effect. While the Duke starts the duet and attempts to impose his will on his audience, Gilda's weeping lines throughout start to take focus as the piece develops. Lungu's large voice allowed her to carry this dramatic weight beautifully. During the ensuing trio her voice and increasing despair rang through the tumultuous orchestra storm; right before she ran to her death, she interpolated a high note that emphasized the character's heroic quality in this particular moment.
Matthew Polenzani was a formidable Duke. His "Quest o quella" was filled with humorous vocal gestures and his trademark brilliant tone. He seemed very comfortable in this setting and had no whims about being spontaneous. During the "E il sol del anima" he had no qualms about putting his hands all over Lungu and it was clear that the two were enjoying each other's company onstage. During this duet, Polenzani's singing had a desperate quality to it; it emphasized the irresistibility and passionate nature of the Duke. The famous "Ella mi fu rapita" and subsequent "Parmi veder le lagrime" was delicately delivered adding a tenderness to the character that was not on display throughout the rest of evening. During the ensuing cabaletta, Polenzani snuffed some cocaine humorously before delivering a heroic account of the difficult aria. Surprisingly, the only moment in the entire evening in which Polenzani displayed a hint of insecurity was during the famous "La donna e mobile." The brilliant tone was in abundance but the final cadenza and climactic B natural were not quite up to the standard of the terrific tenor; the coloratura felt a tad bit sloppy and the high note's pitch and placement seemed unstable. Polenzani seemed to undergo similar difficulty with the final note that the Duke sings in the entire opera. However, these minor issues sandwiched a formidable rendition of the famous quartet; the ardent and impatient passion of the "E il sol del anima" was back here in full force, adding a nice mirror "image" for the characterization.
Steven Kocan was formidable as Sparafucile; his massive voice resonated furiously through the theater. One cannot commend him enough for the virtuosic low note at the end of the Act 1 duet with Rigoletto. Oksana Volkova was alluring in both her vocal and physical portrayal of Maddalena.
The lone disappointment of the night was conductor Pablo Heras-Casado in his company debut. The conductor did manage some tremendous balance in the orchestra throughout the prelude and the storm, but he also seemed to rush his singers throughout the evening to mediocre effect. During "Tutte le feste al tempio," he seemed to give a confusing cue that made Lungu rush her phrasing. In another moment during the "Vendetta" duet, he seemed intent on rushing Hvorostovsky initially but eventually settled into the singer's tempo. The "Addio Addio" duet between Gilda and the Duke was arguably the low point of the evening as the singers struggled to keep up with Heras-Casado's ever-quickening tempo.
Despite the conductor's shortcomings, this revival of "Rigoletto" should not be missed by any means. Hvorostovsky gives arguably the most memorable interpretation of the role at the Met in the last two decades while Lungu adds a dramatic vocal depth to Gilda that is uncommon. Polenzani's beautifully sung Duke rounds out the trio admirably and sets up the audience member for an unforgettable rendition of Verdi's middle period masterwork.
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