The Hunchback of the Casino: Rigoletto at the Metropolitan Opera

Last week we saw the new modern production of Rigoletto at the Met.

Elizabeth – This past year has been a blur of operas, and most performances were my first time seeing a particular opera. I have to confess that I now have certain operas confused or simply cannot remember them. My introduction to Rigoletto, however, easily ranks as most memorable. I heard mixed reviews on Michael Mayer’s new production and was wondering how much of the negative related to people comparing this current production to ones in their memory. Would my first Rigoletto be a disappointment?

Wow, does the opera open with a bang. The first scene of Act I is in a casino full of bright lights, colorful costumes, and Rigoletto’s loud sweater. Titty lights at the Met was something I was not expecting. It was a bit overwhelming and to be honest I had a hard time following the characters in the beginning as they were all dressed the same (except for Rigoletto!) and the music at points over powered the voices so I couldn’t tell who was singing. Once I settled in, though, I really enjoyed the Rat Pack version. It was clear a lot of time was spent focusing on movement during the 1960s versus those of the 16^th century; the way the performers walked, danced and gestured seemed very apt for the time period. I loved the different scenes using period props: the elevators, the flop house with the neon arrow pointing down to it, even the thunderstorm incorporated neo lights, and while the 1960s car on set seemed a bit over the top, it did help ground us in the period. Amazingly the story blended almost seamlessly being moved up four centuries.

There were points, however, when the Rat Pack version didn’t quite fit. It was rather jarring having an Arab in traditional garb walk into a 1960s casino. Other characters making fun of the Arab by placing towels on their heads gave me pause. Was that supposed to be funny? Or an example of how people in the ‘60s would have reacted to an Arab? In this time of extreme political correctness, it did make me wonder how the audience in general felt about this part of the opera—and how they would have felt if it was a different ethnicity, religion, or race being belittled as the Arab was.

Lisette Oropesa as Gilda, was gorgeous. I loved her voice, absolutely phenomenal, and found her so moving, hoping she would leave the brothel instead of sacrificing her life for the Duke. The audience also loved her and I look forward to more performances with her next year. Vittorio Grigolo as the Duke was a bit of a ham—swinging on the stripper pole, etc. I couldn’t tell if he was playing up his character or if it was Grigolo being full of himself. In either case, it was a success as I really didn’t like him as a person by the end. And George Gagnidze as Rigoletto, was tremendous. Rigoletto is a complicated character, loving and wanting the best for his chaste sheltered daughter, yet also being willing to help the Duke in kidnapping a woman he doesn’t know is his daughter. Gagnidze’s first act duet with Oropesa was very moving, as was the second act when Rigoletto has to come to terms with the kidnapping and deflowering of his daughter by his employer. I thought he was great, though that sweater was blinding!

The third Act opens with a topless woman dancing against a pole. I was shocked to see nudity at the Met (and yes, my opera glasses confirmed she was nude), but as I’ve seen over this past season, the Met is using sex to sell. Now we just have to wait for the men to have their turn.

One of my friends at the performance thought this production was too much like a Broadway show—casino lights, 1960s car, etc. —but I’ll tell you one thing, this is one opera I won’t have any trouble remembering.

Shawn – Perhaps the anti regietheatre crowd will squawk at this but I really liked the updated Vegas production. It’s also nice to see a Rigoletto who is not quite so physically grotesque as the version that seemed to be in vogue when I was young.

I would go as far as to say that this production is a perfect intro for a complete newcomer to opera. Especially my generation or younger as if the Rat Pack doesn’t resonate with them surely Martin Scorsese’s Casino will. The update doesn’t necessarily alter the societal power structure of the narrative. If the Duke is now Frank Sinatra, then Rigoletto is now Don Rickles, who is fairly grotesque in his own right especially in Casino, but the power dynamics of the original remain starkly similar in the updated setting. This is what will grab new audiences: a familiar paradigm, which gives them a point of entry into the operatic experience. That is what we need.

Give new audiences proof positive that the emotional narrative of opera is relevant and timeless, THEN they can get into more traditional stagings. I have a whole crew of Scorsese-obsessed friends whom I would recommend this production to as a first opera. They are attracted to Scorsese’s operatic style without knowing his influences. This production could bridge the gap and bring in a whole new happy crew of opera fans.

The lights, cadillacs, stripper poles and sharkskin suits will all resonate with them and make them feel immediately at home while still giving them the basic subtext and societal structure needed to engage with the narrative.

As for the cast, George Gadnidze, whom I saw as a decent Scarpia at the Met several years ago, was good. Lisette Oropesta, whom we heard as the voice of the bird in Siegfried, is even better when she actually appears onstage. Both performed admirably. Especially strong was Enrico Giuseppe Iori as Sparafucile who not only sang with weight and menace, but looked like he just walked off the set of the Sopranos. I hope the Met continues to revive this production for as I said I would recommend it to all newcomers.

– Elizabeth Frayer and Shawn E Milnes

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