Jonathan Miller's classic production of Rigoletto is a perfect example of how to re-imagine an opera, change its setting and deliver a honest interpretation of the work.
Originally conceived in 1982, it retains its freshness with some small details altered to reflect that it is now the 21st century - smokers standing in the street outside the bar rather than indoors. I did not notice the absence of mobile phones and other modern gadgetry during the performance and was content that it retained its broadly 1950s setting.
The production ticks several boxes in how to do it correctly. The sets are pleasing without being the raison d'etre of the show. Each set was closely linked to the others. Act 1 Scene 1 and Act II took place in Ceprano's bar. In Act 1 Scene 2 took place outside Rigoletto's house, which was across the street from the frontage of that bar. The final act took place in Sparafucile's bar, clearly in another part of town, and quite different: Ceprano's was a glamorous town-centre meeting place, Sparafucile's a Spartan worn-out back street place that relied on casual passing traffic. But yet, one could see that they were inspired by the same fashions. All sets were in proportion to each other, and all sets filled the stage.
The composition of the crowd scenes was carefully calibrated to be just right. Just enough people so they are no longer individuals, not so many as to over-run and dominate to the detriment of the principles. I have no lasting memory of the costumes, which means, to me, that they served the action well, and were not intended to convey some spurious meaning.
Importantly, as far as I could tell, all the action took place where it was visible from all around. I had a good seat in the fourth row of the Upper Circle, next to one on the inner aisles. Nevertheless a small part of the front side of the stage was obscured, but that did not matter because nothing happened there. There was realistic interaction between all the characters. Although no singer gave a definitive interpretation of the role, the absence of hamminess and the ease of movement was welcome (except, of course, for Rigoletto the hunchback whose lameness was understated and better for not lapsing into caricature).
The orchestra under Stephen Lord delivered an adequate but somewhat routine and unenlightening performance. I did not notice any duff notes or perverse tempi, but I missed the caressing of phrases or the drawing out of significant passages I have enjoyed with more sensitive interpretations.
At times the orchestra was too loud, drowning out the singers or seeking to dominate in those ensemble numbers which are about the different vocal lines - the most obvious being Bella figlia dell'amore. In general, the playing failed to move me intensely compared say to the superb interpretation of Renato Palumbo at Covent Garden a couple of years back.
Anthony Michaels-Moore had flu and was replaced as Rigoletto by Charles Johnston. His biography says that he is a regular understudy for roles at ENO; it was clear that he was familiar and comfortable with the staging. Not a beautiful voice and one that lacks the dramatic colour and nuances that distinguishes a star. Nevertheless a rewarding performance and one of the best stand-ins I have heard this year.
I was perplexed at how his sung words (clearly enunciated) deviated so frequently from the text of the surtitles, never changing the meaning. I don't know whether this means that the text has undergone subtle but major re-writing and he had learned the old version, perhaps having understudied it before. I didn't see such deviation from the other singers.
Michael Fabiano was a fresh and pleasant voiced 'Duke', lyrical but perhaps lacking passion. I noticed an absence of characterisation in his interpretation, rendering the Duke as a two-dimensional cypher, a cad at worst, rather than a brutal rapist and user. After a hesitant start with some strain he settled down to sing the role decently.
Katherine Whyte was engaging as Gilda and again, save for one or two screeched higher notes and some audibility issues against the too heavy orchestra, turned in a pleasant engaging and convincing interpretation.
The ever-reliable Brindley Sherratt excelled as Sparafucile, and Iain Paterson nearly stole the show as Monterone, one of those small parts that is best done with a very good singer - it perplexes me that Iain doesn't get bigger parts because, oozing Stage Presence, he was in a different league from his colleagues. Madeleine Shaw sounded wonderful in the small role of Maddalena and acted the slut convincingly.
Altogether an enjoyable night at the opera, although not an evening that will feature in my highlights of 2009. I would strongly recommend this to anyone who is relatively inexperienced with opera and is looking for an enjoyable night out. A colleague and his girlfriend seem to have enjoyed it as did another colleague who saw it last week. None of them is a 'newbie' but it's fair to say they aren't at operas week in week out like some people I could mention
NB I paid for my ticket myself. I did it not receive it, or anything else, from ENO or anyone associated with them
