Rigoletto is an opera composed by Giuseppe Verdi in 1851. It is based on the play "Le roi s'amuse" by Victor Hugo. The opera tells the tragic story of Rigoletto, a hunchbacked jester at the court of the Duke of Mantua. Rigoletto is a complex character, torn between his loyalty to the Duke and his love for his daughter, Gilda. One of the central themes of the opera is the curse that befalls Rigoletto. At the beginning of the opera, Rigoletto mocks Count Monterone, whose daughter has been seduced by the Duke.
At the beginning of the opera, Rigoletto mocks Count Monterone, whose daughter has been seduced by the Duke. In response, Monterone curses Rigoletto, predicting that one day he will know the pain of a father's grief. This curse sets in motion a series of events that leads to tragedy.
A Ringing Curse, a Loss of Innocence, and a Father’s Bitter Revenge Provide the Perfect Dose of Drama as Dayton Opera Presents Verdi’s Rigoletto
DAYTON, OH (October 22, 2018) – On Friday, November 9, 2018 at 8 p.m. and Sunday, November 11, 2018 at 3 p.m. in the Mead Theatre of the Schuster Center, Dayton Opera, under the leadership of Artistic Director Thomas Bankston, will present Verdi’s heart-wrenching drama Rigoletto. Principal Sponsor for this production is the ELM Foundation.
A ringing curse ignites this gripping tale of lost innocence and a father’s bitter revenge. Verdi was so electrified by Victor Hugo’s controversial story that he composed Rigoletto at white-hot speed. “The subject is grand, immense, and there is a character that is one of the greatest creations that the theatre can boast of, in any country and in all history,” he wrote his librettist. “…it came to me like a flash of lightning, an inspiration, and I said to myself…Yes, by God, this one can’t go wrong,” he informed his publisher a few days later.
In this beloved work, audiences will meet one of Verdi’s most vivid characters: Rigoletto, a hunchbacked jester who earns his living by amusing the lascivious Duke of Mantua. When he mocks the anguish of a father whose daughter is a victim of the Duke, the grieving father curses Rigoletto, setting into motion this tragic tale of love, remorse, and revenge, and showcasing some of opera’s greatest hits. It is no wonder that Rigoletto is consistently in the top ten most-produced operas in the world.
Performing the title role in this production is baritone Grant Youngblood, who returns to Dayton Opera for his sixth appearance. He was last seen on stage at the Schuster Center as the villain Iago in the 2016 production of Otello. Hailed as a tall, dashing baritone “with a robust sound with ringing top notes,” Grant Youngblood reprises this title role that he has begun to master, having performed as Verdi’s hunchbacked court jester with several opera companies across the country in the last few years.
Dayton Opera is thrilled to welcome back soprano Jennifer Cherest to the Mead Theatre in the role of Rigoletto’s innocent daughter Gilda. Jennifer was last with Dayton Opera as a 2011-2012 Artist-in-Residence, during which time she performed the role of Micaëla in Dayton Opera’s 2012 production of The Tragedy of Carmen. Since that time, she has gone on to perform in soprano roles with opera companies from San Francisco to Washington, D.C. The San Francisco Chronicle has praised her as being “beautifully expressive and technically polished,” and Dayton Opera is excited to have her back for this production.
Making his Dayton Opera debut as the callous womanizer, the Duke of Mantua, is tenor Joshua Dennis. Joshua is a former Apprentice Artist at the renowned Santa Fe Opera, and he has since been rising quickly on the opera scene, with roles in productions from Minnesota Opera to New Orleans, and a role with the Metropolitan Opera for its recent production of Così fan tutte. The Minneapolis Star Tribune praises his performances, exclaiming, “he made his sincerity believable, and his voice, a robust tenor with baritonal heft, rose to the high climaxes with ringing, ardent bravado.”
Also making her Dayton Opera debut is mezzo-soprano Kathleen Felty in the role of Maddalena. Kathleen is a fellow with the A.J. Fletcher Opera Institute, pursuing a Master of Music in Vocal Performance. In 2016, she competed in the Metropolitan Opera National Council Auditions, where she was awarded New Mexico District Winner. The past summer, Kathleen was also a member of the prestigious Apprentice Program for Singers of the Santa Fe Opera.
Last season, bass Harold Wilson delighted Dayton audiences in the roles of Basilio in the comedic The Barber of Seville and Timur in the spectacular Turandot. Praised as singing with “an impressive focus, carrying power and quiet charisma” by the New York Times, Wilson takes the stage for the fifth time with Dayton Opera as the brazen hit-man Sparafucile. Wilson has built an impressive résumé over the last 16 years, with performances spanning the globe and including roles in such magnificent opera houses as Deutsche Opera Berlin and the Metropolitan Opera.
Tenor Daniel Stein, whose voice has been described as “warm and flexible,” makes his Dayton Opera debut as Borsa, a nobleman and member of the Duke’s entourage. Dayton Opera is always pleased to have its Artists-in-Residence join the cast of any performance, and this production is no exception. Mezzo-soprano Courtney Elvira is a current 2018-2019 Artist-in-Residence who will make her main stage debut as Giovanna, having just completed a mesmerizing performance as opera vocalist in Dayton Ballet’s thrilling Dracula: Bloodlines. Last season’s Dayton Opera Artist-in-Residence baritone Alexander Harper returns to the stage as Marullo in this production. Rounding out the cast are three talented Dayton Opera Chorus members who have taken supporting roles in Verdi’s masterpiece: soprano Megan L. Rehberg as Countess Ceprano, baritone Bradley Mattingly as Count Ceprano, and soprano Jennifer Rose Shaffer as a Page.
Dayton Opera is thrilled to welcome back director Kathleen Clawson for her thirteenth engagement with Dayton Opera. Kathleen is no stranger to Dayton audiences, having appeared three times as a guest soloist with Dayton Philharmonic. She has been directing operas with Dayton Opera since 2009, including last season’s hilarious presentation of The Barber of Seville. When not in Dayton or visiting other opera companies across the country, Kathleen devotes all of her time in her actual home of New Mexico as professor at the University of New Mexico, where she heads the degree program in Musical Theatre, and as Assistant Director of the Apprentice Program for Singers at Santa Fe Opera.
Jerome Shannon, Music Director and Principal Conductor for Pensacola Opera, will take the podium for the second time at Dayton Opera as conductor, leading the Dayton Philharmonic Orchestra in this production. Praised for his “skill and verve” (New York Times), Shannon celebrates nearly 30 years as a professional operatic pianist, vocal coach, conductor and administrator. He was last in Dayton as conductor for Dayton Opera’s production of the critically acclaimed Dead Man Walking.
The ever-versatile men of the Dayton Opera Chorus, under the direction and leadership of Chorus Master Jeffrey Powell, take to the stage again to add their choral expertise to this heart-wrenching tale.
Want to learn even more about Rigoletto? Come one hour prior to both performances to hear pre-performance talks presented by UD Music Professor Dr. Sam Dorf inside the Mead Theatre.
The curse becomes reality when the Duke sets his eyes on Gilda and seduces her, oblivious to the fact that she is Rigoletto's daughter. Rigoletto becomes consumed with rage and plans to have the Duke assassinated. However, Gilda, who is deeply in love with the Duke, sacrifices herself to save him. In the end, Gilda is killed, and Rigoletto is left to mourn the loss of his daughter - the very pain that Monterone's curse foretold. The curse in Rigoletto serves as a reminder of the destructive power of revenge. Rigoletto's desire for revenge blinds him to the consequences of his actions, leading to the tragic events that unfold. It also highlights the idea that no one is exempt from the consequences of their choices, as Rigoletto's mocking of Monterone ultimately leads to his own downfall. The curse also serves as a metaphor for the wider themes of the opera. Rigoletto's hunchback physical deformity reflects his inner deformity - his flawed moral character. The curse represents the consequences of his actions and the pain and suffering that result from his choices. Overall, the curse in Rigoletto is a powerful and central element of the opera's plot and themes. It serves as a catalyst for tragedy, highlighting the destructive power of revenge and the consequences of our choices..
Reviews for "Rigoletto's Curse Transcends Time: From Opera House to Cinema"
1. Sarah - 2/5 stars - I was really looking forward to watching "Rigoletto yhr curse" as I had heard great things about the original opera. However, I was left disappointed with this adaptation. The storyline felt disjointed and confusing, with unnecessary changes that didn't enhance the narrative. The performances were lackluster and lacked the emotion and depth required for such a tragic opera. Overall, I felt like this production failed to capture the essence of "Rigoletto" and left me feeling unsatisfied.
2. John - 1/5 stars - "Rigoletto yhr curse" was a complete waste of time and money. I couldn't connect with any of the characters and found the acting to be subpar. The singing was off and the music didn't have the power and emotion I expected from an opera. The set design was underwhelming and did nothing to enhance the overall experience. I regretted choosing to watch this adaptation and would not recommend it to anyone.
3. Emily - 2/5 stars - As a fan of the original "Rigoletto," I was excited to see a different take on the story with "Rigoletto yhr curse," but unfortunately, it fell short of my expectations. The modern setting didn't work well with the traditional music, and it felt forced rather than innovative. The pacing was off, with certain scenes dragging on while others felt rushed. The lack of chemistry between the performers made it difficult to emotionally invest in the story. Overall, this adaptation missed the mark and failed to bring anything new or exciting to the table.