Rigoletto – Bord Gáis Energy Theatre – Review
by Gearoid O’Byrne

1st to 7th Dec 2024 – Bord Gáis Energy Theatre, Dublin

Rigoletto – Irish National Opera

“Rigoletto” with music by Giuseppe Verdi is a classic opera concerning the love between a father and daughter, a lustful Duke, revenge and a curse. The Italian libretto was written by Francesco Maria Piave based on the 1832 play Le Roi S’amuse by Victor Hugo. The opera had a triumphant premiere at La Fenice in Venice on 11 March 1851.

This production by Irish National Opera is directed by Julien Chavaz and designed by Jamie Vartan. It is a co-production with Santa Fe Opera and Opera Zuid, in association with Bord Gáis Energy Theatre.

The set was simple and effective with tightening sightlines introducing a sense of menace from the start. The walls had an oversized purple pattern reminiscent of (to this writer anyway!) 1970s vintage flocked velour wallpaper, which was carried into the matching Renaissance-inspired costumes of the chorus. Secret doors in the walls enabled characters to move freely around the stage and effective interior scenes slid onstage left and right as required.  Portable lamps were used to great effect at various stages.

US Baritone Michael Chioldi sang the title role of Rigoletto with a powerful performance, his voice having booming power, tender softness, and an ability to convey a deep sorrow. His paternal concern was beautifully matched by the playful innocence of his daughter Gilda, played by British soprano Soraya Mafi, who has an Irish connection and was born in Manchester to an Iranian father and a second-generation Irish mother. She has a stunningly beautiful and lyrical voice with great precision and a wonderful sense of movement and presence onstage.

Tenor Bekhzod Davronov who played the Duke of Mautua hails from Samarkand in Uzbekistan. He has a sweet tenor voice that is easy in the high notes and possesses a smooth, warm, and sincere sound. With an assured stage presence, his rendition of the well-known “La donna è mobile” in act three was a joy to witness. Cork mezzo-soprano Niamh O’Sullivan who played Maddalena is well known for her beautiful vibrant voice. She brought comedic elements to the role and a great stage presence.

All four of the above came together wonderfully for the well-known vocal quartet “Bella figlia dell’amore” in the last act of the opera.

Bass Julian Close played the wicked assassin Sparafucile with appropriate menace. Other roles included Phillip Rhodes as Count Monterone, Andrew Masterson as Matteo Borsa, Seán Boylan as Marullo, David Howes as Count Ceprano, Leanne Fitzgerald as Giovanna, Sarah Luttrell as Countess Ceprano, Caroline Behan as a Page and Matthew Mannion as a Court Usher.

The INO chorus gave a spirited performance of song and dance from the outset as the sycophantic courtiers at the decadent ducal court.

The entire production was underpinned by a polished performance by the Irish National Opera orchestra and conductor Fergus Sheil, Irish National Opera’s artistic director.

Running until Saturday 7th December 2024, this is an excellent production and a credit to the Irish National Opera.