Metropolitan Opera Review –
Rigoletto: Dmitri Hvorostovsky Leads Terrific Cast in
Wondrous Revival
http://www.latinospost.com/articles/31516/20131113/metropolitan-opera-review-rigoletto-dmitri-hvorostovsky-leads-terrific-cast-wondrous.htm
On Monday Nov. 11, the Metropolitan Opera revived Verdi's
Rigoletto in the production by Michael Mayer. The performance featured an
all-star cast that included Dmitri Hvorostovsky and Matthew Polenzani as well
as debutante Irina Lungu in the role of Gilda. Oksana Volkova and Stefan Kocan
filled out the remainder of the cast.
Latinos Post published reviews of Mayer's production last
season when it premiered; there is little to add on this particular occasion as
the more general scenic details remain virtually intact. Any major changes were
brought about by the singers themselves.
Leading the charge in the title role was the seemingly
invincible Hvorostovsky. One of the common problems with this production is
that it fails to truly define Rigoletto's role in the Duke's gang. Is he a
friend? Does he work at the casino? None of this is ever truly established by
Mayer's production and prior interpreters hinted at differing perspectives but
never truly managed to give the viewer a firm grasp on the character in this
regard. From the outset, Hvorostovsky makes it clear that this Rigoletto is a
rather odd fellow and there are hints of some mental deficiency in some of his
awkward movements and his constant attempts to gain attention from the Duke's
comrades; they seem to let him tag along out of pure pity for his loneliness.
This helps explain why he does their bidding willingly; he is after all lonely
in the world and likely rejected for his oddness. As he makes his first
entrance Hvorostovsky races on stage like a child wielding a sword, his eyes
wide open and his mouth almost like a dog salivating. The character moved about
throughout the night with a limp that emphasized the awkwardness. As the night
develops, Hvorostovsky's characterization becomes increasingly internalized as
the aforementioned physical traits become less and less apparent. Hvorostovsky
was magnificent vocally, his voice surprisingly gaining in strength as the
night wore on. The baritone's rugged sound paired brilliantly with his
characterization of the increasingly broken man; his "Cortigiani! Vil
Razza Dannata" was filled with tremendous poetic anguish. At the start of
this aria, Hvorostovsky was all "sound and fury" as he spewed his
hatred about. After eschewing his insults, he fell to the floor and begged; his
voice softening but ever powerful. By the end of the aria, Hvorostovsky's
audibly deep and quick breaths added a poignant urgency to the anguished
singing; it was a moment of spectacular beauty. During the ensuing duet with
his daughter, Hvorostovsky's stone-faced expression gave way to a more
compassionate treatment of Gilda; his voice followed a similar trajectory. The
"Si Vendetta" that ends Act 2 was one of Hvorostovsky's major
crowning moments. While most baritones seem to falter a bit in this heavy
segment, Hvorostovsky seemed to grow in his conviction and he held the final
high F almost throughout the entire orchestral coda; the rage and power that
Rigoletto feels in that moment could not be more aptly expressed.
Hvorostovsky's big moment in the final act came during the ending duet in which
Rigoletto discovers his dying daughter in the trunk of a car. Whereas previous
iterations of the production allowed Gilda to die in the car, Hvorostovsky's
Rigoletto opted for giving his daughter a more honorable death. He lifted her
out of the trunk and carried her while singing; note that he did not put her
down right away but held her momentarily. The bravery displayed here by
Hvorostovsky was only topped by his decision to sing the final "La
Maledizione" over the orchestra in a higher register than is often called for.
Lungu made a terrific debut in the role of Gilda. Her voice
is far from what one might be accustomed to in the role. Whereas one might
expect a light and bright sound for Gilda, Lungu brings an earthy, dark and
heavy vocal quality. Some might see this as a disadvantage and assume that
Lungu lacks the flexibility to pull off the stratospheric high notes of the
roll. However, this is far from the case. Lungu's "Caro Nome" was as
confident as could be and included a number of astonishing polished trills and
coloratura leaps. During the leaps there was a stronger sense of connection
between the notes that gave the phrasing a more striving quality. Her singing
in the second act duet "Tutte le feste al tempio" had raw intensity
that only a voice of her quality and volume could provide while the subsequent
pleas in the "Si Vendetta" managed to pierce through the explosive
orchestra. Many lighter-voiced sopranos get lost in the fray of this duet when
faced with a massive orchestral sound and an equally potent baritone to sing
alongside; that was far from the case with Lungu as she matched both the
orchestra and Hvorostovsky exchange for exchange. Lungu's massive voice also
proved to be a tremendous resource during the quartet "Bella Figlia
dell'amor" as it soared over the other singers to poignant dramatic
effect. While the Duke starts the duet and attempts to impose his will on his
audience, Gilda's weeping lines throughout start to take focus as the piece
develops. Lungu's large voice allowed her to carry this dramatic weight
beautifully. During the ensuing trio her voice and increasing despair rang
through the tumultuous orchestra storm; right before she ran to her death, she
interpolated a high note that emphasized the character's heroic quality in this
particular moment.
Matthew Polenzani was a formidable Duke. His "Quest o
quella" was filled with humorous vocal gestures and his trademark
brilliant tone. He seemed very comfortable in this setting and had no whims
about being spontaneous. During the "E il sol del anima" he had no qualms about
putting his hands all over Lungu and it was clear that the two were enjoying
each other's company onstage. During this duet, Polenzani's singing had a
desperate quality to it; it emphasized the irresistibility and passionate
nature of the Duke. The famous "Ella mi fu rapita" and subsequent
"Parmi veder le lagrime" was delicately delivered adding a tenderness
to the character that was not on display throughout the rest of evening. During
the ensuing cabaletta, Polenzani snuffed some cocaine humorously before
delivering a heroic account of the difficult aria. Surprisingly, the only
moment in the entire evening in which Polenzani displayed a hint of insecurity
was during the famous "La donna e mobile." The brilliant tone was in
abundance but the final cadenza and climactic B natural were not quite up to
the standard of the terrific tenor; the coloratura felt a tad bit sloppy and
the high note's pitch and placement seemed unstable. Polenzani seemed to
undergo similar difficulty with the final note that the Duke sings in the
entire opera. However, these minor issues sandwiched a formidable rendition of
the famous quartet; the ardent and impatient passion of the "E il sol del anima" was back
here in full force, adding a nice mirror "image" for the
characterization.
Steven Kocan was formidable as Sparafucile; his massive
voice resonated furiously through the theater. One cannot commend him enough
for the virtuosic low note at the end of the Act 1 duet with Rigoletto. Oksana
Volkova was alluring in both her vocal and physical portrayal of Maddalena.
The lone disappointment of the night was conductor Pablo
Heras-Casado in his company debut. The conductor did manage some tremendous
balance in the orchestra throughout the prelude and the storm, but he also
seemed to rush his singers throughout the evening to mediocre effect. During
"Tutte le feste al tempio," he seemed to give a confusing cue that
made Lungu rush her phrasing. In another moment during the "Vendetta"
duet, he seemed intent on rushing Hvorostovsky initially but eventually settled
into the singer's tempo. The "Addio Addio" duet between Gilda and the
Duke was arguably the low point of the evening as the singers struggled to keep
up with Heras-Casado's ever-quickening tempo.
Despite the conductor's shortcomings, this revival of
"Rigoletto" should not be missed by any means. Hvorostovsky gives
arguably the most memorable interpretation of the role at the Met in the last
two decades while Lungu adds a dramatic vocal depth to Gilda that is uncommon.
Polenzani's beautifully sung Duke rounds out the trio admirably and sets up the
audience member for an unforgettable rendition of Verdi's middle period
masterwork.
Dmitri Hvorostovsky
http://en.wikipedia.org/wiki/Dmitri_Hvorostovsky
photos
https://www.google.hr/search?q=dmitri+hvorostovsky&client=opera&hs=sg9&channel=suggest&tbm=isch&tbo=u&source=univ&sa=X&ei=3aWXUozJFeKC4AS-3oCYBQ&ved=0CCoQsAQ&biw=1024&bih=639
Dmitri Hvorostovsky - Passione (München 2013)
http://www.youtube.com/watch?v=UU-ER4zAIqQ
Matthew Polenzani
http://en.wikipedia.org/wiki/Matthew_Polenzani
http://www.matthewpolenzani.com/
photos
https://www.google.hr/search?q=matthew+polenzani&client=opera&hs=PZo&channel=suggest&tbm=isch&tbo=u&source=univ&sa=X&ei=C5-XUrSSIOuX4wTJiYHwCA&ved=0CCoQsAQ&biw=1024&bih=639
L'Elisir d'Amore: Act II Duet (Matthew Polenzani, Anna
Netrebko)
http://www.youtube.com/watch?v=51vIcz1IoyQ
Irina Lungu
http://it.wikipedia.org/wiki/Irina_Lungu
photos
https://www.google.hr/search?q=irina+lungu&client=opera&hs=Aeo&channel=suggest&tbm=isch&tbo=u&source=univ&sa=X&ei=MqCXUq2CJqSD4gTRuIGIDg&ved=0CCoQsAQ&biw=1024&bih=639
Rigoletto
- Irina Lungu & George Gagnidze - Si vendetta, tremenda
http://www.youtube.com/watch?v=MYXSk71tlGE
Oksana Volkova
http://www.askonasholt.co.uk/artists/singers/mezzo-soprano/oksana-volkova
photos
https://www.google.hr/search?q=oxana+volkova&client=opera&hs=plo&channel=suggest&tbm=isch&tbo=u&source=univ&sa=X&ei=DaKXUtDGO8Ov4QTOqIDADw&ved=0CDIQsAQ&biw=1024&bih=639
Сцена и Ариозо Ленского Piotr Beczala, Oksana Volkova)
http://www.youtube.com/watch?v=FwV_P72tPAY
Steven
Kocan
http://www.metoperafamily.org/metopera/about/whoweare/detail.aspx?customid=2
conductor Pablo Heras-Casado
http://en.wikipedia.org/wiki/Pablo_Heras-Casado
photos
https://www.google.hr/search?q=pablo+heras-casado&client=opera&hs=ab9&channel=suggest&tbm=isch&tbo=u&source=univ&sa=X&ei=laSXUvjhI4i14AS2-YCoCg&ved=0CDcQsAQ&biw=1024&bih=639
Pablo Heras-Casado es elegido "Director de orquesta del año", en
Estados Unidos
http://www.rtve.es/alacarta/videos/telediario/pablo-heras-casado-elegido-director-orquesta-del-ano-estados-unidos/2137748/