Los Angeles Opera has unveiled a new production of Giuseppe Verdi’s classic opera “Rigoletto,” at the Dorothy Chandler Pavilion, which promises a blend of emotional depth and political tension.
This iteration of “Rigoletto” follows a series of productions that have struggled to capture the opera’s essence, due largely to inconsistent staging and direction in previous years.
The opera revolves around Rigoletto, a hapless and vengeful hunchback jester, whose tragic story and outsider status resonate deeply in a world that often punishes the different and marginalized.
Director Tomer Zvulun, drawing inspiration from fascist Italy before World War II, sets a violent and politically charged tone that evokes themes of mob rule and tyranny.
In his program note, Zvulun references Alfred Hitchcock, stating, “There is no terror in the bang, only in the anticipation of it.”
Baritone Quinn Kelsey takes on the title role, delivering a performance described as gripping and powerful, as he embodies the tortured soul of Rigoletto, who is overshadowed by the malevolent forces around him.
This marks the third attempt by L.A. Opera to seek cinematic inspiration for “Rigoletto,” with previous productions having ventured into modern settings, such as a Beverly Hills court.
While Zvulun’s production incorporates elements reminiscent of classic films by Federico Fellini and Luis Buñuel, it falls short in translating those influences into a coherent and compelling production.
The set design, originally created for the Wolf Trap Opera, failed to evoke the necessary atmosphere, leaving the audience wanting more depth and intrigue from the physical environment.
Despite the chorus embodying the spirit of cruelty, with actors adorned with cartoon masks symbolizing evil, such tropes have become commonplace in visual storytelling and did not add freshness to the narrative.
The Duke, portrayed in this production as a self-serving philanderer, remains largely unconcerned with the mob dynamics surrounding him, which diminishes the character’s complexity.
Some moments were compelling, particularly the use of lighting by Robert Wierzel, which played a pivotal role in establishing the noir aesthetic, highlighting the emotional struggles of the characters against a dark backdrop.
The storm scene, a testament to Verdi’s innovative composition, was executed with striking clarity, enhancing the overall experience.
Kelsey’s portrayal of Rigoletto, despite being hampered by a clown suit that seems at odds with the setting, communicated a raw intensity and helplessness, rendering him both tragic and terrifying at the opera’s conclusion.
Acclaimed conductor James Conlon, now in the latter stages of his tenure at L.A. Opera, provided a nuanced and expansive interpretation of the score, lending humanity to Kelsey’s fiery performance.
Lisette Oropesa returned to sing the role of Gilda, bringing a depth to her character that slowly unfolds throughout the opera, creating a contrast between her initial naivety and her eventual emotional awakening.
Her duets with Rigoletto were filled with intense emotion, showcasing her stunning vocal ability and elevating the poignant narrative of love and sacrifice.
René Barbera, as the Duke, provided a lyric tenor performance albeit somewhat overshadowed by the formidable chorus and the chaotic environment.
Standout performances also came from Peixin Chen as the assassin Sparafucile and Sarah Saturnino as his sister Maddelena; both brought a captivating presence to the production.
L.A. Opera’s “Rigoletto” closes a significant chapter in Conlon’s career, showcasing his ability to extract dramatic excitement while maintaining an elegant orchestral sound that enhances the production’s thematic depth.
Though it navigates some challenges and relies on familiar visual tropes, this latest rendition of “Rigoletto” marks a step forward for L.A. Opera, hinting at fruitful exploration in future productions and an evolving appreciation for Verdi’s timeless work.
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