"Rigoletto" is an opera composed by Giuseppe Verdi in 1851. The title character, Rigoletto, is a hunchbacked jester in the court of the Duke of Mantua. This opera is known for its dark and tragic storyline, as well as its beautiful and emotional music. The story revolves around the Duke, a womanizer who takes advantage of his position to seduce women and discard them. Rigoletto, who is not well-liked by his colleagues due to his sharp tongue and bitter attitude, is initially amused by the Duke's exploits. However, his perspective changes when the Duke seduces Gilda, Rigoletto's beloved daughter.
The Venice police request a copy of the libretto, which Verdi has sent at once, but he instructs Piave to make no "deals that will lead to changes in the characters, the plot, or the dramatic situation." He also demands that the librettist resolve the problem promptly.
Only a few days later, La Fenice writes Verdi to say that the opera, now titled La maledizione The Curse, has been prohibited by the office of public order, cited by the Military Governor of Venice as a deplorable, repugnant, obscene triviality. If you take away the sack, it is unlikely that Triboletto would talk for half an hour to a corpse, without having a flash of lightning show him that it is his daughter.
However, his perspective changes when the Duke seduces Gilda, Rigoletto's beloved daughter. Rigoletto becomes consumed by anger and vengeance, especially after Gilda falls in love with the Duke and defends him despite his flaws. He decides to approach Sparafucile, a professional assassin, and asks him to kill the Duke.
Rigoletto thr curae
Italian composer Giuseppe Verdi signs a contract in April 1850 to write a new work for the 1850-'51 season of Venice's La Fenice theater. Among the proposed subjects is an adaptation of Victor Hugo's play, Le Roi s'amuse, which tells the dark story of a lecherous king, Francis I, his hunchbacked jester, Tribolet, and the jester's innocent daughter, who is raped by the king
The Minister of Public Works in Paris had shut down Le Roi s'amuse after a single performance in 1832 because of the curses and insults in the text, the portrayal of royalty as corrupt, and the offensiveness of the final scene, in which Tribolet carries the body of his daughter in a sack, thinking it is the king, whom he has hired an assassin to kill. Verdi, however, sees great operatic potential in the play, and writes from his home in Busetto to his librettist Francesco Piave, in May 1850, encouraging him to "turn Venice upside down to make the censors permit this subject." Piave suggests that all will go well.
This proves not to be the case, as many different authorities, including the police and the official censor, must be satisfied. The first objections come from the director of La Fenice, who finds the story immoral. Piave defends the libretto and Verdi writes to explain work is already under way, and that if forced to take another subject because of censorship, he could not write a satisfactory opera.
The Venice police request a copy of the libretto, which Verdi has sent at once, but he instructs Piave to make no "deals that will lead to changes in the characters, the plot, or the dramatic situation." He also demands that the librettist resolve the problem promptly.
Only a few days later, La Fenice writes Verdi to say that the opera, now titled La maledizione (The Curse,) has been prohibited by the office of public order, cited by the Military Governor of Venice as a "deplorable," "repugnant," "obscene triviality." The final line of the governor's letter warns La Fenice "not to insist further on this matter."
Verdi is enraged, blaming Piave for false assurances that the opera would be approved. He writes La Fenice to discuss alternatives, none attractive and ends his letter "the damage and the unhappiness resulting from this veto are so great that I have no words to describe them."
Piave, however, does not give up, and works with officials from the theater to revise the story. By December 11, the proposed premiere only a few months off, they send a version to Verdi which the censors have approved, despite the earlier edict. The title and setting are now changed, the king has been demoted to a duke, the sex and other corrupt behavior significantly softened.
Verdi finds the revision largely unacceptable: the curse which sets off the drama now has no motive; Triboletto, the jester, has been de-hunched and is no longer ugly. And the sack in which he unknowingly drags the body of his beloved daughter is eliminated. Verdi writes, "What difference did the sack make to the police? Are they afraid of the effect it has? . If you take away the sack, it is unlikely that Triboletto would talk for half an hour to a corpse, without having a flash of lightning show him that it is his daughter." The tragic climax of the opera is thus rendered absurd.
La Fenice is now in crisis; the new season depends on a new opera by Verdi. Piave and others meet the censors and take up Verdi's demands, searching for a compromise. On December 23, they write Verdi that his main requests can be granted and "there will be no problem about the sack." A new title for the opera, Rigoletto, is proposed. The police approve the work, asking only for the change of a few names. On January 26, Piave writes to Verdi, "At last yesterday at three in the afternoon our Rigoletto reached the directors safe and sound, with no broken bones and no amputation."
| Culture Shock: Home | Site Map | Flashpoints Menu | PBS | WGBH | © |
Only a few days later, La Fenice writes Verdi to say that the opera, now titled La maledizione (The Curse,) has been prohibited by the office of public order, cited by the Military Governor of Venice as a "deplorable," "repugnant," "obscene triviality." The final line of the governor's letter warns La Fenice "not to insist further on this matter."
However, Gilda overhears their conversation and decides to sacrifice herself to save the Duke. In a tragic twist of fate, Gilda takes the place of the Duke and is killed by Sparafucile instead. Rigoletto is left devastated by the loss of his daughter, and his anger turns to despair. The opera ends with Rigoletto cradling Gilda's lifeless body and cursing the courtiers who have brought about this tragedy. "Rigoletto" is considered one of Verdi's greatest works and is widely performed in opera houses around the world. Its tragic storyline and emotional music have made it a favorite among audiences. The character of Rigoletto, with his complex emotions and moral struggle, is a compelling figure that continues to captivate audiences. Overall, "Rigoletto" is a powerful opera that explores themes of love, betrayal, and the destructive power of revenge..
Reviews for "Rigoletto: A Tale of Childlike Innocence and Jaded Wisdom"
1. Sarah - 2/5 - I was really disappointed with "Rigoletto the Curae". The storyline was confusing and hard to follow. The characters lacked depth and I didn't feel any connection to them. The music was also underwhelming and forgettable. Overall, it just fell flat for me and I wouldn't recommend it to others.
2. John - 3/5 - I had high expectations for "Rigoletto the Curae", but unfortunately, it didn't live up to them. While the set design and costumes were impressive, the performances were lackluster. The lead actors seemed to struggle with their roles, making it difficult to fully engage with the story. Additionally, there were moments where the pacing felt off and disrupted the flow of the opera. It had some potential, but it ultimately left me wanting more.
3. Emily - 2/5 - "Rigoletto the Curae" was a disappointing experience. The production lacked energy and excitement, making it difficult to stay engaged throughout. The singing was subpar, with inconsistent performances from the main cast. The staging was also unimpressive, and the set design felt outdated and uninspiring. I was let down by this rendition and would not recommend it to others who are looking for a captivating opera experience.