His master, too, has churned up great resentment, for he is a compulsive womanizer who claims that the impulse to live freely is a spiritual calling of sorts. And the rest is a flashback of the catastrophic events.Ī bitter man, who spares no one his insults, Rigoletto is widely despised at court.
Loren Meeker, has devised an inspired innovation, so that as the overture is still being played we see a bereft Rigoletto (Quinn Kelsey), court jester to the Duke of Mantua (Matthew Polenzani), peering up at the small window where he once believed he could keep his beloved daughter, Gilda (Rosa Feola), safely hidden away. The sense that a great tragedy was about to unfold could be heard from the moment the orchestra, under the lyrical but precisionist direction of Marco Armiliato, sounded the first ominous bars of the overture, and the curtain rose on the blood-red sky of designer Michael Yeargan’s steeply raked cityscape of Mantua, Italy, whose arched doorways, exaggerated perspective and bursts of saturated color (vividly lit by Chris Maravich and embellished by Constance Hoffman’s lavish costumes) is inspired by the early 20th century paintings of Giorgio de Chirico. Rosa Feola is Gilda and Matthew Polenzani is the Duke of Mantua in the Lyric Opera of Chicago production of Verdi’s “Rigoletto.” | Todd Rosenberg Photography
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