Rigoletto [Blu-ray]

An Excellent outing
The Met in the 70's: was there a better spot for Opera? Here we have my Favorite Verdi Opera of all time, starring Three bonifide stars, two at the start of their careers, one nearing the end. We have at the Podium the young Levine, who does wonderful, if not exemplary work with the score. The Met Orchestra is top-notch, as always.

I have little to say about the production except that...it's the Met. Big, vibrant, and more than a little bit impressive, the sets and costumes by Tanya Moiseiwitsch are very beautiful to look at. But who goes out of RIGOLETTO humming the set? (Unless you see a really bad performance) Another key aspect of this LIVE FROM THE MET broadcast is the video direction of Kirk Browing, who makes a few close up where wide shots would be preferable, but mainly lets the cameras let the singer's dramatic talents shine.

And Shine they do. Watch Domingo's face as he realizes who the courtiers have kidnapped in Act Two. See the genuine feeling he...

Very good, yet not definative
Rigoletto is a fabulous, wonderful, stupendous opera. And this is a wonderful production.

Domingo is wonderful, he is my favorite duke. He hates the role, he rarely performed it, an not only because he dislikes the Character. The role is the antipathy of Domingo's instrument. His rich, trumpety baritonal tenor, suits late Verdi, puccini, and veristic opera. His musical subtlety also allows him to sing mozart, and his gutz have put him in the ring as Sigfried, Lonegrin and the like. But the high tessitura of the Duke was killer for him. As a result he sings the part as it was meant to be sung. He escews optional high notes, and rubato (save in La Donna e Mobile where he takes the B). He sings with focus and intention, making the Dukes numbers part of the drama, rather than showpieces. his acting is superb.

Coturbas is an excellent Gilda. Just like Domingo, she avoids making her Aria Caro nome into a coloratura showpiece. Instead the piece is...

A classic rendition of the score
This long delayed release of a 1977 performance immortalizes the not so often sung Duke of Domingo, at a time when he was already established as the Otello of his generation. He is in fine voice, displaying a lyric approach to the written music.Cotrubas is at the peak of her career and vocal powers, Gilda being one of her signature roles. Although MacNeil is no longer at his best, he is still capable of singing with a beautiful legato and effortless high notes, displaying also fine acting capabilities. Levine stylishly conducts the orchestra through an uncut score, following Verdi's tempo and markings.

Click to Editorial Reviews