The Royal Opera House in London, the capital of England, opened the curtains for the new season with Rigoletto, one of Verdi’s most powerful works, under the conductorship of Antonio Pappano.
The experienced conductor, who says, “The piece creates ‘Chiracuro’, which mixes light and darkness, says that Rigoletto can be thought of as a “funny” opera, but the work was called ‘damn’ at first.
Rigoletto, Oliver Mears’ directorial debut… Saying that he always starts a new production by looking at the composer’s life, Mears said, “Verdi was still mourning the death of his wife and two children… And he was very, very saddened by the failure of the 1848 revolution. An opera that reflects not a personal tragedy but a real political trend. That’s why there’s the duke as an extraordinary figure. But it’s a hostile portrait. You also have a working-class character. an opera that gives an important role”.
Lisette Oropesa sees Gilda as a woman who tragically sacrificed herself for her lover but did not become a victim: “She makes a very conscious decision about what she wants to do. Many viewers will say, ‘Wow, that’s a big mistake, why did she make that choice’? … But she is making this decision not as a 40-year-old woman, but as a 16-17-year-old girl. There are lives cut short by recklessness, reckless behavior, which we all know and accept for sure.”
The Duke’s famous aria ‘La donna è mobile’ (the woman is frivolous) became immediately famous. Referring to this variability, Chief Pappano said, “We love the songs that women sing with their indecision despite this frivolity.”
The Royal Opera House closed about 18 months ago due to the Covid-19 pandemic, and Rigoletto was a sign of a return to normalcy.
Soprano Lisette Oropesa is also happy to meet the audience again. “It’s really nice to have an audience that will not only sing but breathe together while doing it,” says Oropesa. “You can only experience this exchange when you play against them on stage.”