With a backdrop of Vivid festivities across Sydney Harbour, the stage was set at the Joan Sutherland Theatre in the Opera House for the opening night of Giuseppe Verdi’s Rigoletto. A crowd-pleaser for theatre-goers and an ‘old faithful’ for Opera Australia, the work is one of Verdi’s most loved for its classical opulence and beautiful score. While Verdi’s score has stood the test of time, the profoundly misogynistic libretto certainly has not. After all, its most famous and much-loved aria ‘La Donna e mobile’ is, beyond its catchy tune, an ode to the apparent fickleness and small-mindedness of women. Yet, as with many art forms, the discipline as a whole takes a fairly conservative approach towards any alterations of the text, preferring to view works as reflective of the time. While this is understandable to a degree, it is important that, when viewing (or indeed, reviewing) such a work, the implications of this are not lost on the audience member. 

Content of the libretto aside, this performance showcased Opera Australia at its finest. Michael Yeargan’s set and costume design must draw immediate praise for they were dazzling to the highest degree. The set was fashioned upon a rotating stage, which shifted with the scene changes. Each setting displayed great opulence, from a lavish ballroom, decorated with trinkets and portraits at every corner, to the sets of bars and houses, which were complete with functioning cars. It was beyond extravagant and completely over-the-top, but that was exactly what the audience wanted to see, 

The costumes were equally grand, with exquisite ballgowns and tuxedos wherever the eye looked. The coordination of the costumes was also perfectly ordered, which provided a structure to adequately balance the opulence. No detail was missed in the whole production which gave the audience a most enjoyable experience.  

The performances of those on stage were also outstanding. Ernesto Petti shone in his performance of the titular role, approaching his character with the necessary torment, passion and eventual despair that personify the role. His rich baritone voice was in superb form throughout the night, with his full spectrum of tonal complexities being utilised to maximum effect during the highly dramatic final act to highlight the tragedy of the storyline. 

Atalla Ayan gave a solid performance as the Duke and showcased a lyrical tenor voice although he faltered multiple times at the apex of his register in the iconic aria ‘La Donna e mobile’, which was quite noticeable. Stacey Alleaume’s portrayal of Gilda received one of the strongest receptions at curtain call, which was reflective of her outstanding performance. Her characterisation was nuanced and effective while her voice was stunning in its upper register. Roberto Scandiuzzi and David Parkin also played strong supporting roles as Sparafucile and Monterone respectively. 

One of the most impressive parts of the production was the cohesiveness of the chorus, led by Paul Fitzsimon. The movement and choreography in Act II were played perfectly for comedic effect and provided a welcome counterpoint to the otherwise serious nature of the show. Vocally, their performance was also excellent and provided a solid structure for the rest of the show. 

The on-stage drama of Rigoletto was perfectly complemented by a flourishing score, which was expertly performed by the Opera Australia orchestra, conducted by Renato Palumbo. 

Overall, this was a fabulous production which showed off the very best that Opera Australia has to offer. The sets and costumes were unmatched, and the on-stage performances were, aside from a few missed notes, excellent as well. While the text of the work requires significant critical evaluation by any audience member, this is a production that will please those with much experience of opera as well as those seeking an introduction into the genre, given the accessibility of the music and the incredible staging. This is certainly a production not to miss. 

Rating: ★★★★ 1/2

Rigoletto plays in the Joan Sutherland Theatre until 26^th June. For more information, click here. 

Photo credit: Keith Saunders