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Fascism and a clown suit: L.A. Opera’s gripping new ‘Rigoletto’

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Despite his unkind nature, Rigoletto – Verdi’s downtrodden, vengeful hunchback jester – touches our hearts as the misunderstood outcast who endures frequent abuse from a cruel world. “Rigoletto” is an opera that serves as a reminder of where our sympathies should lie when authoritarianism is the only alternative.

It wasn’t as simple as it might seem. Over the past productions of Rigoletto by Los Angeles Opera, we’ve faced one disappointing attempt after another, whether they were imported or homegrown. On numerous occasions, it’s been up to the singers and conductors to salvage the performance, and at times, they’ve managed to do so. In our most recent production, Matthew Aucoin’s idea-rich interpretation, despite its rough edges, was the most intriguing contribution.

On Saturday evening, at the Dorothy Chandler Pavilion, L.A. Opera premiered a disturbing, politically unsettling performance. In this production, a tormented jester confronts mob rule. If you find an uncontrolled clown frightening, be aware of the crowd wearing cartoon masks, intended to hide their wickedness.

Entertainment & Arts

In a warm welcome, New York acknowledges Gustavo Dudamel as their upcoming conductor by bestowing upon him an honorary doctorate from Juilliard, followed by applause after the performance of Philip Glass’ Symphony No. 11.

In this rephrased version, I’ve attempted to maintain the original meaning while making the text more accessible:

Tomer Zvulun, who leads Atlanta Opera, where the show initially premiered, opens his director’s note in the program with a quote from Alfred Hitchcock: “The real fright comes not from the noise, but from the expectation of it.” The powerful performance of baritone Quinn Kelsey in “Rigoletto” is undeniably the ‘bang.’ The male choir members from L.A. Opera embody pure terror.

For the third time, L.A. Opera has sought assistance from cinema for their production of “Rigoletto,” which appears to be an engrossing play on the outside. In their promotions, L.A. Opera describes it as having a film noir-like quality.

In 1993, the company embarked on its inaugural opera production, which they attempted with Peter Medak. Unfortunately, he declined the offer to focus on the movie “Romeo Is Bleeding” instead. Seven years later, the LA Opera ventured into Hollywood. Director Bruce Beresford modernized the Mantuan ducal court by setting it in contemporary Beverly Hills and Venice Beach. However, neither the cast nor the company were able to bring the production successfully to fruition.

In the years leading up to World War II, Zvulun drew inspiration from films by Federico Fellini and Luis Buñuel, yet these resources remained insufficient. Once more, supplies were lacking. The stage setup designed for Wolf Trap Opera in Washington, D.C., known as a turntable set, failed to evoke much emotion. The chorus’ cruelty aligns appropriately, but masks, now a frequent cinematic motif symbolizing evil, have become rather commonplace.

The Duke, known for his womanizing ways, seems more concerned with flirting than with the chaos of popular uprisings. Despite scenes filled with beautiful dancers meant to represent indulgence, they come off as innocent. However, there’s an undercurrent of violence. Zvulun adds elements of chaos and bloodshed. Spectral figures mysteriously appear, giving viewers a shiver down their spines.

The Duke is more focused on romance than on crowd control. Scenes with attractive dancers are tame but have an edge. There’s also violence. Zvulun creates chaos and murder scenes. Spooky apparitions pop up to give you the chills.

The lighting, by Robert Wierzel, is intensely noir, creating an atmosphere where most of the set is dimly lit, yet characters are dramatically highlighted, much like a classic black-and-white movie. Notably, a storm scene, one of Verdi’s groundbreaking innovations, is portrayed so powerfully that it doesn’t require additional flashing effects to emphasize its intensity.

The light plays a crucial role, revealing not only the actors’ strengths but also some potential flaws in the staging.

Or, more informally:

The lighting really makes or breaks it – it showcases the actors’ talents as well as any shortcomings in the production itself.

Review

To capture the outlandish subject of Schoenberg in Hollywood, it takes an opera

The debut performance on the West Coast of Tod Machover’s opera ‘Schoenberg in Hollywood’ offers an unusual perspective on the intersection of relentless modernism and show business.

Kelsey, who’s renowned for performing the leading role globally, appears burdened by his attire. In contrast to the stylishly dressed Italian fascist society, there’s this man in a vivid red circus outfit.

The costume he wears, symbolizing an outcast, could be seen as a representation of a warning label or a Star of David.

Despite its traditional feel, this “Rigoletto” is rescued by an outstanding cast, as well as James Conlon’s conducting that infuses humanity into Kelsey’s simmering rage. It requires a great deal to appreciate Rigoletto, who confines his daughter, Gilda, yet she manages to escape and becomes smitten with the count – a situation she orchestrates herself.

Kelsey might not possess the warmth found in some legendary Rigolettos, yet none could have been more potent. The raw intensity of this man’s rage, hidden beneath a clown suit, is terrifyingly nightmarish. In a twist reminiscent of Rigoletto, Kelsey orchestrates his own demise, and the horror he expresses at the end seems to usher in a fresh wave of violence.

Lisette Oropesa once again takes on the role of Gilda. In her previous performance with L.A. Opera, she initially appeared rather ordinary, but was stirred by the intense emotion of love. This time, her initial blandness seems even more insignificant, while the depth and impact of her performance are significantly greater. Her singing remains delightful, yet it carries a deeper meaning, much like how “Caro Name” transforms into “I Feel Pretty.

But her duets with Rigoletto are pregnant with emotion, and she is stunningly angelic in the end.

In a different phrasing: Duke Rene Barbera, a charming tenor with a melodious, lighter tone, follows his own path. He seems oblivious to anything but delight, even when surrounded by a powerful chorus. Among them stand out Peixin Chen, an imposing bass who portrays the assassin Sparafucile, and Sarah Saturnino, a captivating mezzo-soprano who plays Maddelena, his sister, enticing the Duke with her allure.

In simpler terms, “Rigoletto” marks Conlon’s near-final season as L.A. Opera music director before he steps down, and he has a knack for conducting Verdi that creates intense drama. However, in recent years, his interpretation of Verdi has become broader. This restraint and slower tempo helps to diminish some of the less effective aspects of the production, while also highlighting its most impactful moments. Even with the clown suit, which might seem out of place, the refined orchestra performance makes it more bearable.

Following 32 unsuccessful tries, Los Angeles Opera has lastly steered “Rigoletto” towards a positive response.

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2025-06-03 21:32

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