di Giuseppe Verdi

Opera de Oviedo
Teatro Campoamor

  • gennaio 2017
    20:00 > 23:00
    3 ore
  • gennaio 2017
    19:00 > 22:00
    3 ore
  • febbraio 2017
    20:00 > 23:00
    3 ore
  • febbraio 2017
    20:00 > 23:00
    3 ore

Non disponibile in italiano
The curse is the guiding thread of the plot Seduction, lust and debauchery go hand in hand in this story in which a depraved and cruel noble governs in a despotic way, corrupting and discrediting as many women as he desires, even killing their parents and husbands. Nonetheless, the tragedy is triggered by the curse of Count Monterone, the character Rigoletto humiliates when the Duke of Mantua commands his imprisonment after seducing his daughter. The curse is the guiding thread of the plot. Rigoletto, the resentful and cruel jester that gives the opera its title, becomes an accomplice of the abduction and murder of his own daughter without being aware of it. This way, Rigoletto himself is the primary cause that leads to the fulfillment of the threat. The pure and virginal figure of Gilda, capable of sacrificing her own life to protect the Duke, contrasts even more if possible with that sordid and corrupted underworld in which the main characters of the opera develop. Rigoletto, based on the romantic play Le roi s’amuse (1832) by Victor Hugo, is the first of the operas that together with La traviata e Il trovatore constitute the so-called “popular trilogy” by Giuseppe Verdi. The brilliant score of the composer gathers very well-known fragments by the public and it is one of the most performed operas in every theatre around the world.

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Stampa e Recensioni

La Nueva España
Andrea G. Torres
Anche per Jessica Pratt ieri si è trattato dell'esordio presso l'Opera de Oviedo, e non delude il soprano australiano che sta posizionando la sua carriera a livello internazionale... con acuti limpidi, tagliente, in buona posizione, e un bellissimo fraseggio.
Platea Magazine
Javier Labrada
Rodríguez, Albelo e Pratt Protagonisti nel Rigoletto dell'Opera di Oviedo
...un grande successo la presenza di Jessica Pratt, che ci ha offerto una Gilda di contrasti. Delicata all'inizio dell'opera e risoluta nel finale. Vocalmente la Pratt si dimostra un soprano dal bel timbro, attenta al fraseggio e dotata di una terza ottava flessibile ed elaborata. Tutte qualità necessarie per risolvere con successo il ruolo di Gilda, specialmente nelle pagine del "Caro Nome" e "Figlia... mio padre!"
Pablo Siana
Il Rigoletto dei giorni nostri
Jessica Pratt... una Gilda che cresce come il suo personaggio, dall'amore infantile a quello carnale e infine alla rassegnazione. Le agilità del ruolo non hanno segreti, il colore è brillante, con una vasta gamma di tonalità, un "Caro Nome" di altissima caratura, ma soprattutto un quartetto bilanciato tra i due mondi, con lei e suo padre al cancello mentre il Duca flirta con la voluttuosa Maddalena...



Libretto scritto in italian da Francesco Maria Piave, messo in scena la prima volta di martedì il 11 marzo del 1851
Non disponibile in italiano
Rigoletto is an opera in three acts by Giuseppe Verdi. The Italian libretto was written by Francesco Maria Piave based on the play Le roi s'amuse by Victor Hugo. Despite serious initial problems with the Austrian censors who had control over northern Italian theatres at the time, the opera had a triumphant premiere at La Fenice in Venice on 11 March 1851. It is considered by many to be the first of the operatic masterpieces of Verdi's middle-to-late career. Its tragic story revolves around the licentious Duke of Mantua, his hunch-backed court jester Rigoletto and Rigoletto's beautiful daughter Gilda. The opera's original title, La maledizione (The Curse), refers to the curse placed on both the Duke and Rigoletto by a courtier whose daughter had been seduced by the Duke with Rigoletto's encouragement. The curse comes to fruition when Gilda likewise falls in love with the Duke and eventually sacrifices her life to save him from the assassins hired by her father.
Non disponibile in italiano
Act 1 Scene 1: A room in the palace of Duke of Mantua Act 1, sc. 1: Victor Hugo's Le Roi s'amuse At a ball in his palace,[25] the Duke sings of a life of pleasure with as many women as possible: "Questa o quella" ("This woman or that"). He has seen an unknown beauty in church and desires to possess her, but he also wishes to seduce the Countess of Ceprano. Rigoletto, the Duke's hunchbacked court jester, mocks the husbands of the ladies to whom the Duke is paying attention, including the Count Ceprano, and advises the Duke to get rid of him by prison or death. The Duke laughs indulgently, but Ceprano is not amused. Marullo, one of the guests at the ball, informs the courtiers that Rigoletto has a "lover", which astonishes them. The courtiers resolve to take vengeance on Rigoletto for making fun of them. The festivities are interrupted by the arrival of the elderly Count Monterone, whose daughter the Duke had seduced. Rigoletto provokes him further by making fun of his helplessness to avenge his daughter's honor. Monterone confronts the Duke, and is immediately arrested by the Duke's guards. Before being led off to prison, Monterone curses Rigoletto for having mocked his righteous anger. The curse terrifies Rigoletto, who is superstitious and, like many people at the time, believes that an old man's curse has real power. Preoccupied with the old man's curse, Rigoletto approaches his house and is accosted by the assassin Sparafucile, who walks up to him and offers his services. Rigoletto declines for the moment, but leaves open the possibility of hiring Sparafucile later, should the need arise. Sparafucile wanders off, after repeating his own name a few times. Rigoletto contemplates the similarities between the two of them: "Pari siamo!" ("We are alike!"); Sparafucile kills men with his sword, and Rigoletto uses "a tongue of malice" to stab his victims. Rigoletto opens a door in the wall and returns home to his daughter Gilda. They greet each other warmly: "Figlia!" "Mio padre!" ("Daughter!" "My father!"). Rigoletto has been concealing his daughter from the Duke and the rest of the city, and she does not know her father's occupation. Since he has forbidden her to appear in public, she has been nowhere except to church and does not even know her own father's name. When Rigoletto has gone, the Duke appears and overhears Gilda confess to her nurse Giovanna that she feels guilty for not having told her father about a young man she had met at the church. She says that she fell in love with him, but that she would love him even more if he were a student and poor. As she declares her love, the Duke enters, overjoyed. Gilda, alarmed, calls for Giovanna, unaware that the Duke had sent her away. Pretending to be a student, the Duke convinces Gilda of his love: "È il sol dell'anima" ("Love is the sunshine of the soul"). When she asks for his name, he hesitantly calls himself Gualtier Maldè. Hearing sounds and fearing that her father has returned, Gilda sends the Duke away after they quickly trade vows of love: "Addio, addio" ("Farewell, farewell"). Alone, Gilda meditates on her love for the Duke, whom she believes is a student: "Gualtier Maldè!... Caro nome" ("Dearest name"). Later, Rigoletto returns: "Riedo!... perché?" ("I've returned!... why?"), while the hostile courtiers outside the walled garden (believing Gilda to be the jester's mistress, unaware she is his daughter) get ready to abduct the helpless girl. They tell Rigoletto that they are actually abducting the Countess Ceprano. He sees that they are masked and asks for a mask for himself; while they are tying the mask onto his face, they also blindfold him. Blindfolded and deceived, he holds the ladder steady while they climb up to Gilda's room: Chorus: "Zitti, zitti" ("Softly, softly"). With her father's unknowing assistance Gilda is carried away by the courtiers. Left alone, Rigoletto removes his mask and blindfold, and realizes that it was in fact Gilda who was carried away. He collapses in despair, remembering the old man's curse. Act 2 The Duke is concerned that Gilda has disappeared: "Ella mi fu rapita!" ("She was stolen from me!") and "Parmi veder le lagrime" ("I seem to see tears"). The courtiers then enter and inform him that they have captured Rigoletto's mistress: Chorus: "Scorrendo uniti" ("We went together at nightfall"). By their description, he recognizes it to be Gilda and rushes off to the room where she is held: "Possente amor mi chiama" ("Mighty love beckons me"). Pleased by the Duke's strange excitement, the courtiers now make sport with Rigoletto, who enters singing. He tries to find Gilda by pretending to be uncaring, as he fears she may fall into the hands of the Duke. Finally, he admits that he is in fact seeking his daughter and asks the courtiers to return her to him: "Cortigiani, vil razza dannata" ("Accursed race of courtiers"). Rigoletto attempts to run into the room in which Gilda is being held, but the courtiers block the way. Gilda enters. The courtiers leave the room, believing Rigoletto has gone mad. Gilda describes to her father what has happened to her in the palace: "Tutte le feste al tempio" ("On all the blessed days"). In a duet Rigoletto swears vengeance against the Duke, while Gilda pleads for her lover: "Sì! Vendetta, tremenda vendetta!" ("Yes! Revenge, terrible revenge!"). Act 3 A street outside Sparafucile's house A portion of Sparafucile's house is seen, with two rooms open to the view of the audience. Rigoletto and Gilda arrive outside. The Duke's voice can be heard singing "La donna è mobile" ("Woman is fickle"), laying out the infidelity and fickle nature of women. Rigoletto makes Gilda realize that it is the Duke who is in the assassin's house attempting to seduce Sparafucile's sister, Maddalena: "Bella figlia dell’amore" ("Beautiful daughter of love"). Rigoletto bargains with the assassin, who is ready to murder his guest for 20 scudi. Rigoletto orders Gilda to put on a man's clothes to prepare to leave for Verona and states that he plans to follow later. With falling darkness, a thunderstorm approaches and the Duke decides to spend the rest of the night in the house. Sparafucile directs him to the ground floor sleeping quarters, resolving to kill him in his sleep. Gilda, who still loves the Duke despite knowing him to be unfaithful, returns dressed as a man and stands outside the house. Maddalena, who is smitten with the handsome Duke, begs Sparafucile to spare his life. Sparafucile reluctantly promises her that if by midnight another victim can be found, he will kill the other instead of the Duke. Gilda, overhearing this exchange, resolves to sacrifice herself for the Duke, and enters the house. Sparafucile stabs her and she collapses, mortally wounded. At midnight, when Rigoletto arrives with money, he receives a corpse wrapped in a sack, and rejoices in his triumph. Weighting it with stones, he is about to cast the sack into the river when he hears the voice of the Duke, sleepily singing a reprise of his "La donna è mobile" aria. Bewildered, Rigoletto opens the sack and, to his despair, discovers his dying daughter. For a moment, she revives and declares she is glad to die for her beloved: "V'ho ingannato" ("Father, I deceived you"). She dies in his arms. Rigoletto cries out in horror: "La maledizione!" ("The curse!")

Giuseppe Verdi

Breve biografia del compositore
Giuseppe Fortunino Francesco Verdi (Le Roncole, 10 ottobre 1813 – Milano, 27 gennaio 1901) è stato un compositore italiano, considerato uno dei massimi operisti della storia, autore di melodrammi che fanno parte del repertorio dei teatri di tutto il mondo. Dominò la scena lirica dopo i grandi protagonisti del primo Ottocento, Gioachino Rossini, Gaetano Donizetti e Vincenzo Bellini, proseguendo la tradizione del teatro musicale italiano ed elaborando un linguaggio compositivo caratteristico e personale. La storiografia musicale lo ha accostato al contemporaneo Richard Wagner, esponente e riformatore dell'opera romantica tedesca, sebbene entrambi abbiano in seguito reinterpretato in forme differenti gli elementi romantici presenti nei loro melodrammi. Verdi simpatizzò con il movimento risorgimentale che perseguiva l'Unità d'Italia; per un breve periodo partecipò anche alla vita politica, assumendo una carica elettiva presso il proprio comune di residenza. Questi ideali si riflessero in parte nelle sue opere, come il Nabucco, che contiene il celebre coro Va, pensiero, e altri cori simili delle opere successive, che manifestavano molti caratteri propri dello spirito del movimento di unificazione. L'influenza musicale del compositore sui suoi successori è stata limitata, tuttavia le sue opere rimangono ancora oggi tra le più popolari, in particolare la cosiddetta "trilogia popolare": Rigoletto, Il trovatore e La traviata, composte nel "periodo di mezzo". Il bicentenario della sua nascita, nel 2013, è stato celebrato con numerosi eventi in molte parti del mondo.


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