The “argument” of “Rigoletto” deals with the amatory escapades of the Duke of Mantua. Not only is he subdued; he is terror-stricken. He repeats this vow as Gilda pleads for mercy for her lover the Duke: Rigoletto mutters of vengeance. The courtiers, of course, are not amused. Beyond the river is Mantua. Composed in forty days in , nearing three-quarters of a century of life before the footlights, it still retains its vitality. Thus the opera had plot, a central character of vital dramatic importance, and at least two other characters of strong interest.

After the first performance in Venice in the Gazzetta ufficiale di Venezia deplored the fact that in his opinion the libretto was inspired by “the Satanic school” and Verdi and Piave had sought beauty from the “deformed and repulsive”. Act II has its scene laid in the ducal palace. In a colloquy, to which the orchestra supplies an accompaniment, interesting because in keeping with the scene he offers to Rigoletto his services, should they be needed, in putting enemies out of the way — and his charges are reasonable. Well — Sparafucile will give the handsome youth one desperate chance for life: However, Verdi kept at least a third of the score at Busseto. Like Don Giovanni he is indifferent to fate, flits from one affair to another, and is found as fascinating as he is dangerous by all women, of whatever degree, upon whom he confers his doubtful favours. When Rigoletto has gone, the Duke appears and overhears Gilda confess to her nurse Giovanna that she feels guilty for not having told her father about a young man she had met at the church. Hither the hunchback has brought her to prove to her the faithlessness of the Duke.

Fickle is woman fair, Like feather wafted; Changeable ever, Constant, ah, never. This poster was designed by the famous Polish poster artist, Rafal Olbinski. The court jester taunts too well. Left alone with Rigoletto, Gilda confesses that she is in love with the Duke and begs her father to forgive him. To the right of the street is the very high wall of the garden and a side of the Ceprano palace.

He tears off his mask. The play had been banned in France following its premiere nearly twenty years earlier not to be staged again until ; [4] now it was to come before the Austrian Board of Censors as Austria at that time directly controlled much of Northern Italy.


On his way home, he is confronted by Sparafucile, a professional assassin, who offers him his services. He collapses in despair, remembering the old man’s curse. Hither the hunchback has brought her to prove to her the faithlessness of the Duke. This role of the deformed court jester, Rigoletto, the hunchback, not only figures in the opera, but has been vividly characterized by Verdi in his music. There still are plenty of men like the Duke, and plenty of women like Gilda to love them; and other women, be it recalled, as discreet as the Duchess, who does not appear in this opera save as a portrait on the wall, from which she calmly looks down upon a jester invoking vengeance upon her husband, because of the wrong he has done the girl, who weeps on the breast of her hunchback father.

Now, with his daughter seduced by the dissolute Duke, Rigoletto is out for revenge.

Metropolitan Opera | Rigoletto

After she leaves, he completes his bargain with the assassin, who is ready to murder his guest for 20 scudi. He proceeds to flirt with the Countess Ceprano, while his jester, Rigoletto, cruelly mocks her husband. Then Rigoletto vows vengeance upon the verdu of Gilda.

It has grace, verve, and buoyancy; and, what is an essential point in the development of the action from this point on, it is easily remembered. However, Verdi kept at least a figoletto of the score at Busseto. From the beginning, both composer and librettist knew this step would not be easy. There is effervescent gayety in the orchestral accompaniment to the scene. Composer and professor of experimental music Dieter Schnebel – wrote of this scene.

Despite a rather disastrous production in Bergamo shortly after its initial run at La Fenice, the opera soon entered the repertory of Italian theatres. Despite their best efforts, including frantic correspondence with La Fenice, the Austrian censor De Gorzkowski emphatically denied consent to the production of “La Maledizione” its working title in syort December letter, calling the opera “a repugnant [example of] immorality and obscene triviality. In it he beholds his daughter.

Rigoletto (Verdi) – Synopsis

We have had a Gilda Adelina Patti, Melba, and Tetrazzini, to mention but a few; and the heroine of the opera is one of the roles of Galli-Curci, who appeared in it in Chicago, November 18, Rigoletto opens a door in the wall and embraces his daughter Gilda.


Thinking he has won vengeance at last on the Duke, Rigoletto paddles onto the river to dispose of the body. Victor Hugo created a debonair character — a libertine who took life lightly and flitted from pleasure to pleasure. La Fenice of Venice commissioned Verdi in to compose a new opera.

This summary contains the complete plot of the opera Rigoletto by Guiseppi Verdi. The storm is abating. The thief then wraps her in a rug and drops her body through a trap door to Rigoletto, who is waiting in a boat below. There are flashes of lightning; distant rumblings of thunder. The dashing gallant cares nothing about what anyone may think of his escapades. Marullo is not aware that the “lover” is actually Rigoletto’s daughter. Rigoletto and Gilda listen from outside as the Duke flirts with Maddalena.

Sparafucile brings it out in a sack.

Amongst Enrico Caruso ‘s earliest recordings are both these arias, recorded with piano accompaniment in and again in with orchestra. Rigoletto and Gilda arrive outside.

The Duke is a ladies man who feels his life would be meaningless if he couldn’t chase every skirt he sees. Consumed with the desire for revenge, Rigoletto contacts a murderous thief named Sparafucile who just happens to have a beautiful sister named Maddalenaand he contracts with the two of them to lure the Duke to Sparafucile’s tavern on the river where Sparafucile will murder the Duke. There is a moment of surprised suspense within. Problems playing this file?

Hearing footsteps, he rushes synoppsis, leaving Gilda thinking lovingly of his vedri.


The King, of course, also is a leading character; and there is a pen-portrait of Saint-Vallier. They tell him they have come to abduct the Countess Ceprano and bear her to the Ducal palace.

Courtiers and ladies are moving about in all directions. Then, after Rigoletto leaves, she hears Maddalena pleading with Sparafucile not to kill the Duke, but instead to kill the first person who comes through the door and give that body to Rigoletto instead.