Rigoletto - Schedule, Program & Tickets
Rigoletto
Melodramma in three acts
Libretto by Francesco Maria Piave
World premiere on March 11, 1851 in Venice
Premiere at the Deutsche Oper Berlin on April 21, 2013
In Italian with German and English surtitles
about 2 hours 45 minutes / one break
"With regard to the theatrical effect, the RIGOLETTO seems to me to be the best subject I have ever set in music [...]. There are situations of great power, variety, temperament, pathos. "(Verdi to Antonio Somma, April 22, 1853)
Describing the qualities of his melodramma, which was first performed in 1851, after Victor Hugo's successful work "Le roi s'amuse", Verdi also identifies the challenges that every production of this opera must face: RIGOLETTO is a masterpiece whose special feature is the confrontation of psychological character-drawing with improbabilities a fantastic plot lies. This story sounds like a romantic horror novel: A fool in the service of the Duke of Mantua, the deformed Rigoletto has become the object of hate for all courtiers. He ridicules all who his master - a notorious philanderer - has torn into misery. But at the same time he is afraid that his daughter Gilda might face a similar fate and therefore keeps them hidden. But Rigoletto must experience that his attempt to save his private and sanctified world in an environment dominated by arbitrariness and violence is doomed to failure: Gilda, too, is seduced by the Duke and even goes to his death.
Her emotional credibility wins the story through Verdi's music. Through them RIGOLETTO becomes a tragedy resulting from the meeting of three completely different people: The Duke, who is on the one hand a libertine, but Verdi has written such seductive music that not only Gilda, but also the audience regularly its charm he is lying; Rigoletto, who is one of those typical Verdi people who hold the capacity for good and evil alike; and finally, Gilda, who embodies the principles of innocence and compassion in radiant purity. RIGOLETTO is believed above all to be such a person and understands by himself the most ridiculous coincidences of operatic action as an inescapable fate.
Jan Bosse was also interested in playing with the power of the music theater during his first Berlin opera work. His RIGOLETTO plays in the auditorium of an opera house, and like his previous opera productions, Monteverdi's L'ORFEO and Cavallis LA CALISTO, this time the line between the audience and the stage is lifted.
Subject may change.
Libretto by Francesco Maria Piave
World premiere on March 11, 1851 in Venice
Premiere at the Deutsche Oper Berlin on April 21, 2013
In Italian with German and English surtitles
about 2 hours 45 minutes / one break
"With regard to the theatrical effect, the RIGOLETTO seems to me to be the best subject I have ever set in music [...]. There are situations of great power, variety, temperament, pathos. "(Verdi to Antonio Somma, April 22, 1853)
Describing the qualities of his melodramma, which was first performed in 1851, after Victor Hugo's successful work "Le roi s'amuse", Verdi also identifies the challenges that every production of this opera must face: RIGOLETTO is a masterpiece whose special feature is the confrontation of psychological character-drawing with improbabilities a fantastic plot lies. This story sounds like a romantic horror novel: A fool in the service of the Duke of Mantua, the deformed Rigoletto has become the object of hate for all courtiers. He ridicules all who his master - a notorious philanderer - has torn into misery. But at the same time he is afraid that his daughter Gilda might face a similar fate and therefore keeps them hidden. But Rigoletto must experience that his attempt to save his private and sanctified world in an environment dominated by arbitrariness and violence is doomed to failure: Gilda, too, is seduced by the Duke and even goes to his death.
Her emotional credibility wins the story through Verdi's music. Through them RIGOLETTO becomes a tragedy resulting from the meeting of three completely different people: The Duke, who is on the one hand a libertine, but Verdi has written such seductive music that not only Gilda, but also the audience regularly its charm he is lying; Rigoletto, who is one of those typical Verdi people who hold the capacity for good and evil alike; and finally, Gilda, who embodies the principles of innocence and compassion in radiant purity. RIGOLETTO is believed above all to be such a person and understands by himself the most ridiculous coincidences of operatic action as an inescapable fate.
Jan Bosse was also interested in playing with the power of the music theater during his first Berlin opera work. His RIGOLETTO plays in the auditorium of an opera house, and like his previous opera productions, Monteverdi's L'ORFEO and Cavallis LA CALISTO, this time the line between the audience and the stage is lifted.
Subject may change.
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