From 16 to 24 January 2021
Giuseppe Verdi
RIGOLETTO
Melodramma in three acts
Libretto by Francesco Maria Piave after Le Roi s'amuse by Victor Hugo
Conductor | Stefano Ranzani
Master of the Chorus | Gea Garatti Ansini
Stage director | Giancarlo Cobelli
Set designer | Paolo Tommasi
Costume designer | Giusi Giustino
Cast
Duke of Mantua | René Barbera (16, 19, 22 and 24) / Giulio Pelligra (17, 21 and 23)
Rigoletto | Zeljko Lucic* (16, 19, 22 and 24) / Simone Del Savio* (17, 21 and 23)
Gilda | Aida Garifullina* (16, 19, 22 and 24) / Claudia Pavone (17, 21 and 23)
Sparafucile | Alessio Cacciamani*
Maddalena | Caterina Piva
Giovanna | Sofya Tumanian
Count Monterone | Gabriele Sagona
Marullo | Donato Di Gioia
Matteo Borsa | Enzo Peroni
Count Ceprano | Domenico Apollonio
Countess Ceprano | Fulvia Mastrobuono
*debut at Teatro di San Carlo
Orchestra and Chorus of Teatro di San Carlo
Production of Teatro di San Carlo
January 2021
SERIE CREMISI
Saturday 16 January, h 19.00 - Series A - Fee III
Sunday 17 January, h 17.00 - Series F - Fee III
Tuesday 19 January, h 20.00 - Series C/D - Fee IV
Thursday 21 January, h 18.00 - Series B - Fee IV
Friday 22 January, h 20.00 - Out of Subscription - Fee IV
Saturday 23 January, h 19.00 - Out of Subscription - Fee III
Sunday 24 January, h 17.00 - Out of Subscription - Fee III
Language: Sung in Italian with Italian and English surtitles
Running time: about 2 hours and 50 minutes, including one interval
Adapted from Victor Hugo's Le Roi s'amuse and performed at La Fenice in Venice in 1851, Rigoletto marks Verdi's triumphal period of known maturity that will produce, shortly after, the other two titles of his "popular trilogy". The opera we know today was heavily modified by Austrian censorship for its première and even after its huge success, Rigoletto toured many theaters with different titles and arrangements until reaching its definitive form in the operatic playbills around the world. The storyline of Rigoletto, the hunchbacked court buffoon, whose revenge against the wicked Duke of Mantua turns against his most precious gift, his beloved and violated daughter Gilda, enhances the opera's perfect theatrical machine, which utilizes the orchestra's wide gamut of textured emotions, descriptive of the great voices requested by the score. It is an opera about dualism and about opposites. It is dominated by exasperated contrasts such as night and day, shadow and light and it remains as such until its tragic epilogue, built on the volitional exchange of two people. An extreme gesture of purifying love that annihilates hate and violence.