****HIGHLY RECOMMENDED Excitement was in the air at Lyric Opera of Chicago's opening night performance of Verdi's "Rigoletto." Two of the three principals are making their highly-anticipated company debuts and fresh new talent abounds everywhere in this production. As a matter of fact, eight of the twelve cast members are appearing on Lyric's stage for the very first time. Combine that with the insightful and sensitive direction of Mary Birnbaum (also a Lyric debut) as well as the impeccable leadership in the orchestra pit of Music Director Enrique Mazzola, and you have one of the most solid and wholly satisfying productions that Lyric Opera has presented in many, many years. What a glorious way for Lyric to launch their 70th anniversary season. 4 BIG SPOTLIGHTS
If Lyric's audiences were impressed with Russian baritone Igor Golovatenko in 2022, when he made his Lyric debut as Posa in "Don Carlos," then they have no idea what joys lie in store for them as Golovatenko tackles the lead role of Rigoletto. His portrayal vacillates from enraged court jester who verbally attacks his noblemen and openly abhors them to a doting and over-protective father who will do anything to keep his daughter's existence a secret. Golovatenko is in extremely strong voice and fully in command of the stage. His Rigoletto may lean a bit too heavily, at times, upon the physical deformity of the character (a hunchback) than other Rigolettos that you may have seen, but it never impedes the natural flow of his performance. At one point, during Act II, even his walking stick makes a dramatic statement to back up the libretto as Golovatenko rages on.
Armenian soprano Mane Galoyan simply stuns in her Lyric debut as Gilda, Rigoletto's daughter who has been cloistered away from the denizens of Mantua for fear that her honor will be taken away from her. Galoyan shines in this role with her vibrant and crystalline voice and her formidable acting ability.
One of the reasons why this "Rigoletto" is so powerfully effective and emotionally devastating is the pairing of Galoyan and Golovatenko. Not only do they each have splendid moments alone, which are plentiful, but when the two of them share a scene together, it's purely magical. Their voices blend into a gorgeous amalgamation of sound. Combine that with each of their supremely well-crafted and honest performances and you will see just why these two are just so spectacular. The paternal affection that Golovatenko's Rigoletto has for Gilda is palpable and many of their scenes together have a great deal of tenderness. Galoyan and Golovatenko are a match made in heaven, which makes the fate of each of their respective characters that much more heartbreaking.
Another Lyric debut is Mexican tenor Javier Camarena as the Duke of Mantua. Camarena has a big and forceful musical voice, which is put to great use in the very famous aria "La donna e mobile" in Act III. His Duke is confidant, unapologetically chauvinistic but never too arrogant or aggressive that audiences would despise him. It's a very thin line to walk and Camarena does so brilliantly.
Soloman Howard is wonderful as Sparafucile, the assassin who offers his services to Rigoletto in Act I. Also very good is Zoie Reams as Maddelena, Sparafucile's attractive sister who is tasked with seducing the Duke. The very well-known quartet from Act III featuring Rigoletto, Gilda, Sparafucile and Maddelena is handled beautifully here, thanks in large part to Maestro Mazzola's guidance and the power of these four performer's voices.
Director Birnbaum has brought some interesting perspectives to her production, which may impact the role of Gilda the most but which are also beneficial to the other performances as well. She has added a silent montage which is enacted during the overture that provides a slight backstory to Gilda regarding her deceased mother. Birnbaum has also added a somewhat ethereal personification at the opera's conclusion to illustrate the transition that the character of Gilda is undergoing.
Robert Innes Hopkins has designed an impressive revolving set. In Act I, some of the action is observed secretly by Rigoletto from an arched alcove which sits above those gathered at court. This revolving set is most effective during the very dramatic swashbuckling sword fight which climaxes during the final moments of Act III.
Jane Greenwood's costumes are very traditional 16th century representation of what a Renaissance court would look like.
But the highest praise for the design team must go to Duane Schuler, who was Lyric's former lighting designer and who has designed over 200 productions at Lyric since 1977. This "Rigoletto" is among some of his best work. From the ominous meeting between Rigoletto and Sparafucile in Act I, which looks like something right out of a 1950s film noir, in which Golovatenko and Howard play a clever game of cat-and-mouse as one performer emerges into the light as the other recedes into the shadows, to the thrilling storm which approaches and overtakes the action during Act III as lightning flashes in sync with the striking score of Verdi, this is why Schuler's work is such an integral part of this production's success.
All of these elements combine to create as complete and enjoyable a production of "Rigoletto" as you could ever dream of. This one is not-to-be-missed.
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"Rigoletto" continues through October 6, 2024
Lyric Opera of Chicago is located at 20 North Wacker Drive, Chicago, IL
Remaining performances are:
Sunday, October 6 at 2:00 PM
Tickets: Please visit www.lyricopera.org or call 312-827-5600