Composer: Giuseppe Verdi
Director: Adele Thomas
Conductor: Pietro Rizzo
Rigoletto is arguably Verdi’s most taut drama. It is an intense drama packed with memorable characters and a 
straightforward plot that is theatrically satisfying (not always a given in the world of opera). The score contains some of the best music Verdi ever composed for the stage. Certainly, it is a lot more than just the well-known arias.
Given the current financial plight with which Welsh National Opera as a company is wrestling, it is encouraging to see that they are still able to tour to Oxford as it is one of the cultural highlights of the year. For a city as rich in culture as Oxford, it is not well served with opera productions.
This production is a showcase for the strengths that WNO has long come to represent. Not only do audiences get to enjoy world-class soloists, but the production also highlights the outstanding musical contributions of the chorus and orchestra. They are the beating heart of the company and must be protected at all costs.
Vocally, there are two brilliant performances. In the title role, Daniel Luis De Vicente is surely one of the greatest interpreters of this music singing today. He has the range necessary for what is a challenging sing for many baritones but, and perhaps most importantly, he has the acting skills essential for bringing his character fully to life. It is a complete performance that holds the audience’s attention throughout.
Soraya Mafi (Gilda, Rigoletto’s daughter) matches his vocal and dramatic prowess. She has complete control of her technique which makes the music feel utterly effortless. The father/daughter duets that lie at the emotional centre of Verdi’s writing are spellbinding as these two singers feel so utterly at home in their roles. It is music making of the highest order.
Special mention must also go to Paul Carey Jones as Monterone. Whilst the character only has two short stage moments, his sonorous voice memorably fills the theatre. To have such quality of singing in supporting roles is exactly what makes WNO an international treasure.
Director Adele Thomas draws out some very fine performances from the whole cast. There are moments where the chorus is a little too prominent in the action, drawing focus from the central drama. But overall, the production has the momentum necessary for the tragedy to unfold as Verdi intended.
Where audiences may feel a little confused is in the juxtapositions in Annemarie Woods’ design. The stage is presented as a tiled wall with a viewing gallery as if it were a contemporary slaughterhouse complete with industrial vinyl curtains that sweep across the stage. The costumes, on the other hand, reference a much earlier set of aesthetics combining elements from the 16th to the 18th centuries. Both set and costume choices are striking but they do not feel cohesive.
Having said that, this is still a powerful production that shows the company doing what it does best. Musically outstanding under the assured conducting of Pietro Rizzo and dramatically engaging – what more can audiences ask?
Long may Oxford continue to enjoy WNO’s visits.
Runs until 26 October 2024 and on tour
The Reviews Hub Score
Outstanding Music Making
