A thought-provoking ‘Rigoletto’ - opera review

The Israeli Opera is ending its current season with a new controversial production of Verdi’s Rigoletto, which premiered in Tel Aviv on July 7. 

Beforehand, the production’s well-respected Spanish director, Miguel del Arco, expressed doubts about accompanying his set to Israel.

“I haven’t decided yet. We are thinking about whether we should go to a country that is responsible for a horrible genocide against the Palestinian people,” he was quoted as saying in Spanish media. Well, del Arco did not attend the Opera’s premiere, and the helm was given to Regina Alexandrovskaya.

Presumably, del Arco’s production is a manifesto against masculine entitlements of privileged males and their manipulation of women. And so, all the men are in lavish and privileged fur tuxedos, often with bunny masks to disguise their deeds.

It is not a period set; the production is set in contemporary times. On the proscenium stage hang luxurious red drapes and modern chandeliers, but other than that, the stage is usually rather empty. Gilda’s house is presented as a garden; the decor is made of other-worldly, balloon-like shapes, covered in black cloth, designed to endow the audience with the idea that things are not what they are, the underlying fallacy of the love narrative.

The casting

Overall, the cast is impressive: Hila Fahima is a talented actress and singer, although initially, it appears that she is trying to hit the right note or pitch. This comes at the expense of the legato singing in Bel canto. In the 2nd act and later, her performance is remarkable, with a flowing, natural Bel canto.

Ionut Pascu as Rigoletto is phenomenal– a wonderful singer and an unusually talented actor able to convey the character. Even without the hunched back, in a suit and a long black coat, he is still a miserable wretch, limping and singing his parts full blown to the audience.

Oreste Cosimo as the Duke is a good singer but still lacking stage presence and vocal strength. Petros Magoulas as Sparafucule the assassin and Shay Bloch as his daughter Maddalena give an impressive performance with dramatic stage presence, even if the singing is not as loud and clear as it should be. 

It is a thought-provoking production, and the costumes, acting, and singing of Verdi’s inspirational music all combine for a memorable experience.