Lyric Opera’s New 'Rigoletto' Set in Prohibition Era

By Eman Isadiar

Once again, San Francisco Lyric Opera brings us an operatic masterpiece with an intriguing creative twist. A brand new production of Verdi’s Rigoletto will be on stage at Fort Mason’s Cowell Theatre from April 17 through 26, this time transplanted to the urban landscape of Prohibition Era U.S. from the original sixteenth century setting in northern Italy.

Baritone David Cox appears in the title role in SF Lyric Opera's Rigoletto set in Prohibition Era U.S. (Photo courtesy of SF Lyric Opera)

“What makes the story compelling is the twisted nature of the characters against the backdrop of a worn-down society,” says artistic director Barnaby Palmer. He adds, “The 1930s urban setting tends to accentuate the diseased elements at the core of the opera.”

Composer Giuseppe Verdi and his librettist Francesco Piave seem to have fought—and won—an uphill battle with Rigoletto. Based on a work by Victor Hugo titled “Le roi s’amuse” (“The King’s Leisures”), the opera originally portrayed a French king and his many amorous adventures, which was apparently too indecent a topic for the censors of the time. In order to avoid any possible controversy, Verdi and Piave changed the king’s character to an Italian duke of a long-extinct domain.

The story’s main theme is revenge gone awry. The men whose wives and daughters were seduced and dishonored by the Duke form an alliance headed by a certain Count Monterone. However, the Duke’s advisor and confidant—a physically deformed man nicknamed “Rigoletto” (Funny Guy)—has the Count arrested and thrown in jail.

Soprano Rebecca Sjöwall sings the role of Gilda in SF Lyric Opera's new Rigoletto (Photo courtesy of SF Lyric Opera)

Contrary to his own repulsive appearance, Rigoletto’s daughter Gilda is a very attractive young woman, whom he keeps hidden from the world. She is allowed to leave the house only to attend mass, which, as fate would have it, is where she is spotted by the Duke. Unaware that she is Rigoletto’s daughter, the Duke manages to charm her using a false name.

Count Monterone’s men abduct Gilda, believing her to be Rigoletto’s mistress. Rigoletto demands that Gilda be returned to him and, to everyone’s utter surprise, divulges that she is in fact his daughter. Rigoletto’s madness reaches fever pitch as he hires an assassin to kill the Duke, whom he holds responsible for Gilda’s lovesick condition.

Shortly thereafter, the assassin delivers to Rigoletto a sack he claims to contain the dead Duke’s body. As Rigoletto weighs down the sack with rocks before throwing it into the lake, he hears the Duke’s voice in the distance singing one of opera’s best known arias “La donna è mobile” (“How Fickle is Womankind”). Perplexed, he opens the sack and discovers Gilda, who—still barely alive—proclaims she is glad to have exchanged her own life for that of the her beloved Duke as she draws her final breath.

Gifted Hungarian stage director Attila Béres is credited with this production’s daring originality, which also marks his début with the San Francisco Lyric Opera. Currently the main director at Budapest’s Operetta Theater, Mr. Béres has directed an impressive list of operas during his remarkable tenures at the National Theater in Pécs and at Gardonyi Géza Theater in Eger, Hungary.

Artistic director Barnaby Palmer notes that, in addition to Rigoletto’s bold staging, the principal roles are sung by an especially talented cast with outstanding acting skills. These include award-winning soprano Rebecca Sjöwall appearing as Gilda, accomplished Mexican tenor Jesús León as the Duke, and leading baritone David Cox in the title role.

As always, Barnaby Palmer will conduct the orchestra in what promises to be another memorable production of San Francisco Lyric Opera. Mr. Palmer has served as the company’s artistic director since 2002, and is also a professor of Opera History and Music Theory at the Academy of Art.

He points out that opera in a small, intimate setting is qualitatively different from a large opera house production. “San Francisco Lyric Opera,” he says, “aims to offer a unique, close-up experience where the spectator feels directly engaged in the story.” In addition, Mr. Palmer points out that San Francisco Lyric Opera is especially in favor of using modern technology for productions that are more relevant to today’s audiences.

San Francisco Lyric Opera hopes to raise future generations of opera supporters by offering free admission to children 12 and under, and reserving 10 percent of its seating capacity at every performance for the San Francisco Unified School District.

For tickets to the upcoming production of Rigoletto, visit http://www.sflyricopera.org or call (800) 919-8088.

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Eman Isadiar teaches piano at the Peninsula Conservatory and writes about music in the San Francisco Bay Area.