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A Woman Saves Rigoletto
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17941 |
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Section : |
THE ARTS
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5 / 1990 |
2,032 Words |
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Herb Greer
Herb Greer is an American writer and playwright who lives in
Britain and on the Continent. |
Among the complexities of musical theater are many kinds of battles. Some of them take place onstage, in the plot, and some - fueled by temperament, taste, and ego - are fought backstage before the performance ever starts. By far the most fascinating to watch are those that develop during a performance, when some elements of the production clash with the intentions of author and composer, or the work of the performers, or with both. It is a characteristic of such a struggle that it tends to bring out the best, or the worst, in those concerned.
During a performance of Rigoletto at London's Royal Opera House, I witnessed a classic among such trials, in which the forces of light - represented by Verdi's music and the brilliant young woman who conducted it - triumphed, so to speak, over the forces of artistic darkness embodied in a grossly misconceived (with one or two exceptions) indifferently sung production.
Verdi's creation of Rigoletto was haunted by conflict. Adapted from a politically explosive Victor Hugo play, Le roi s'amuse, the project ran a gamut of censorship, being first banned altogether by the Austrian Empire's Department of Public Order and then subjected to revisions that almost caused Verdi to drop the work. After certain compromises that allowed him to go ahead, he composed the opera over several months of creative excitement, while the librettist Francesco Maria Piave battled with the authorities.
Hugo's provocative drama of the grim jester Triboulet and the seduction of his daughter by a cruel king was transformed by Piave into the ugly tale of a debauched Duke of Mantua and his jester Rigoletto: After a courtier's
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