The Christ myth is a narrative that has evolved over centuries, blending various religious and cultural influences, including pagan beliefs and symbols. These influences played a significant role in shaping the development of the Christ myth as it is known today. One key pagan influence on the Christ myth was the concept of divine birth. Pagan religions often featured stories of gods and goddesses being born to mortal women, such as the Greek deity Zeus impregnating various women to sire demigods. This idea of a divine being descending to Earth through a miraculous birth was incorporated into the Christ myth with the story of the Virgin Birth. In Christianity, Jesus is believed to have been born to the Virgin Mary, making his birth a miraculous and divine event.
This new production (Opera North’s first Rigoletto in 15 years!) is directed by British-Nigerian theatre artist Femi Elufowoju jr, and depicts the society he was born into, and continues to live in, as a Black man.
is directed by British-Nigerian theatre artist Femi Elufowoju jr , and depicts the society he was born into, and continues to live in, as a Black man. On discovering that the Duke has got his hands on Gilda, Rigoletto is distraught, and approaches the assassin Sparafucile to help him wreak his revenge.
In Christianity, Jesus is believed to have been born to the Virgin Mary, making his birth a miraculous and divine event. Another pagan influence can be seen in the symbolism surrounding the death and resurrection of Jesus. Pagan religions often celebrated the cycle of death and rebirth, and many gods and goddesses were associated with this theme.
Rigoletto in a nutshell
The opera is set in the world of the Duke of Mantua – a morally corrupt, womanising ruler. We begin at the Duke’s party, during which he mentions having his eye on a mystery beauty. His jester Rigoletto – who is despised for being different – mocks all the guests, including a statesman, Monterone, who is furious that his daughter has been molested by the Duke. In retaliation, Monterone places a curse on Rigoletto.
Back at Rigoletto’s safehouse, we meet his beloved daughter Gilda, whom he fiercely protects. Even so, she has managed to fall in love with a mystery man she has seen (who turns out, of course, to be the Duke). Later that night, Gilda is abducted and delivered, much to the Duke’s delight, to his bedroom!
On discovering that the Duke has got his hands on Gilda, Rigoletto is distraught, and approaches the assassin Sparafucile to help him wreak his revenge. However, the plan goes terribly wrong, and we see Monterone’s curse come to pass in a devastating way…
Jasmine Habersham as Gilda and Eric Greene as Rigoletto © Clive Barda
Who are the main characters?
The Duke – ruler of Mantua (tenor)
Rigoletto [ri-go-LE-tto] – the Duke’s jester (baritone)
Gilda [JIL-da] – his daughter (soprano)
Monterone [mon-te-RO-ne] – an elder statesman (bass)
Sparafucile [spa-ra-fu-CHI-le] – the Duke’s Head of Security (bass)
Maddalena [madd-a-LE-na] – his sister (mezzo-soprano)
There is also a full Chorus who play guests, abductors, and many other characters. And in this staging, we get to meet figures that exist within the story but are never usually seen, such as the Duke’s wife!
Alyona Abramova as Maddalena © Clive Barda
What is this production like?
This new production (Opera North’s first Rigoletto in 15 years!) is directed by British-Nigerian theatre artist Femi Elufowoju jr, and depicts the society he was born into, and continues to live in, as a Black man.
Rather than having a physical disability, Rigoletto’s impairment is mental – he is plagued by the paranoia of a Black man in a predominantly white world, and his mind is constantly working against him. In this context, Monterone’s curse is even more significant:
“I want this moment to resonate for the characters who, because of their ethnicity, are familiar with the ‘curse phenomenon’. Rigoletto, Gilda, Monterone, Marullo and the Countess Ceprano, will be sung by people of colour. These characters are aware of the power and impact of the curse, and their response is infectious.”
There are a host of contemporary cultural references – a reflection of our own lives – from a painting of Gilda inspired by the work of Nigerian-American painter Kehinde Wiley, to nods to various Netflix shows! Homage is also paid to iconic African symbols of peace in Gilda’s safehouse.
Sir Willard White as Monterone © Clive Barda
What is the music like?
Rigoletto’s most famous number is ‘La donna è mobile’ (which translates as ‘Women are fickle’)! Sung by the massively misogynistic Duke in Act III, it’s devilishly catchy.
While Verdi cleverly wrote some of his most charming music for the Duke, Gilda’s music is sublimely beautiful. Her aria ‘Caro nome’, a musing on the name of the man she has fallen in love with, is technically virtuosic and very exposed, but the melody floats and dances. And the syllables of the opening phrase are broken up by rests, as if Gilda is reeling and trying to catch her breath.
Overall in Rigoletto, however, Verdi moves away from the traditional stop-start structure of Italian opera into more free-flowing, continuous drama. The melody is not always in the vocal line, but in the orchestra, and he uses certain instruments and musical figures for different characters and ideas. The purity of the flute is associated with Gilda, and there is a theme for the curse which first appears in the dark prelude – it’s all on one repeated note, suggesting its obsessional hold on Rigoletto…
Who was the composer?
Rigoletto was written by one of the best-loved operatic composers in history – Giuseppe Verdi (1813–1901). Born in Italy, Verdi composed 26 different operas during his lifetime, some of the most popular being La traviata, Aida and Nabucco.
Verdi always looked for strong subjects featuring relatable, human characters. He had a knack for taking figures marginalised by society and telling their stories – putting them centre stage.
Giuseppe Verdi © Giovanni Boldini (1886)
A little history
In 1850, Verdi was commissioned to write a brand-new opera for La Fenice in Venice. For a plot, he had set his heart on using Victor Hugo’s controversial 1832 French play Le roi s’amuse (The King Amuses Himself), which had been shut down due to its portrayal of a debauched monarch. However, Verdi believed the subject could be “one of the greatest creations of the modern theatre”, so told librettist Francesco Marie Piave to go to whatever lengths necessary to get approval from the censors.
Permission was, predictably, denied. The censors thought the topic one of “repulsive immorality” and specified that the ruler needed to be an “irreproachable character”! However, Verdi insisted that “the Duke MUST be a libertine”, otherwise the drama made no sense. In the end, a compromise was found. By simply moving the action to the Dukedom of Mantua in Northern Italy c.1600 under the long-extinct Gonzaga family, and re-naming some characters, the opera was deemed less threatening.
It was now full steam ahead on the newly named Rigoletto – in fact, Verdi was still orchestrating as the cast were rehearsing! The opera premiered in March 1851 and was a huge box office success. Today, it is still among the top ten most frequently performed operas worldwide.
La Fenice's poster for the premiere of Rigoletto, March 1851
Did you know…
— With ‘La donna è mobile’, Verdi knew he’d written something so catchy that it was rehearsed in secret and the cast were forbidden to sing or even whistle the tune outside the theatre before the premiere! He was right – the aria was sung in the streets the next morning, and still appears in TV ads nowadays (including this one for Doritos). And i n 2020, a version sung by tenor Maurizio Marchini from his balcony during coronavirus lockdown in Florence went viral on social media.
— The name of the opera’s main character was originally Triboulet (Francis I’s actual jester) as per Victor Hugo’s play, but to appease the censors was renamed Rigoletto from the French word rigoler , which means ‘to laugh’.
— Verdi was a huge Shakespeare fan and wrote various operas based on his plays. He wanted to compose a King Lear and never did, but Rigoletto is the closest we get – it’s full of Shakespearean resonances and irony, juxtaposing moments of humour with bleak tragedy.
Rigoletto is sung in Italian with English titles and lasts approx. 2 hours 40 minutes. Join in on social media with #ONRigoletto.
For example, the Egyptian god Osiris was believed to have died and been resurrected, and the harvest festival of the ancient Greeks, known as the Eleusinian Mysteries, included a reenactment of the goddess Demeter's search for her daughter Persephone, who had been taken to the underworld. These themes of death and rebirth were incorporated into the Christ myth with the crucifixion and resurrection of Jesus, representing his sacrifice and subsequent triumph over death. Additionally, pagan mythology and traditions influenced the ritual practices and symbolism associated with Christianity. For example, the use of evergreen trees and wreaths in Christmas celebrations can be traced back to pagan winter solstice festivals, where these symbols were used to symbolize life and fertility during the darkest time of the year. Similarly, the use of eggs and rabbits in Easter celebrations can be traced back to pagan fertility symbols associated with the spring equinox. In conclusion, the Christ myth was shaped by a variety of influences, including pagan beliefs and symbols. The concept of divine birth, the symbolism of death and resurrection, and the ritual practices associated with Christianity all bear traces of pagan influences. These influences have contributed to the rich and complex narrative of the Christ myth as it has evolved over time..
Reviews for "The Christ Myth through a Pagan Lens"
1. John - 2/5 stars
I was extremely disappointed with "Pagan influences on the development of the Christ myth." While I was expecting an objective exploration of the topic, the book seemed to have a biased agenda from the start. The author selectively cherry-picked evidence to support their preconceived conclusions, ignoring the vast amount of scholarly research that contradicts their claims. The lack of counter-arguments or alternative viewpoints made the book feel more like a propaganda piece than an academic work. I wouldn't recommend this book to anyone looking for a well-rounded examination of the subject.
2. Emily - 1/5 stars
I found "Pagan influences on the development of the Christ myth" to be incredibly misleading and poorly researched. The author's arguments were weak and lacked substantial evidence. It appeared they were more interested in pushing their personal beliefs than in presenting a balanced analysis. The book also failed to address significant counter-arguments or engage with opposing viewpoints, further diminishing its credibility. I would suggest looking for more reputable sources if you're interested in exploring this topic.
3. Alex - 2/5 stars
Unfortunately, "Pagan influences on the development of the Christ myth" fell short of my expectations. I was hoping for a thorough examination of the potential connections between pagan beliefs and the development of Christianity. However, the book merely scratched the surface and failed to provide a comprehensive analysis. The arguments presented were often oversimplified and lacking in supporting evidence. I believe there are better books out there that delve deeper into this topic and offer a more nuanced perspective.
4. Sarah - 2/5 stars
I was initially intrigued by the premise of "Pagan influences on the development of the Christ myth," but ultimately, I found it unconvincing. The author seemed more interested in advancing their personal agenda rather than presenting a well-supported argument. The lack of credible sources and reliance on outdated research made the book feel outdated and irrelevant. I would recommend seeking out more scholarly and balanced works on the subject if you're genuinely interested in exploring the potential impact of pagan influences on Christianity.