Rigoletto Study Guide

Rigoletto GIUSEPPE VERDI (1813 – 1901)

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Table of Contents Welcome........................................................................................................................................................... 3 Rigoletto: Characters and Synopsis...................................................................................................... 4 Rigoletto: Composer and Librettist Biographies............................................................................. 5 Rigoletto: Opera at a Glance.................................................................................................................... 7 Rigoletto: What to Look for...................................................................................................................... 8 Rigoletto: Listening Guide........................................................................................................................ 10

Cover: Detail of preliminary sketches and fabric swatches by Michael Levine, set and costume designer for the COC’s new production of Rigoletto. Production originally designed for Lyric Opera of Chicago, 2000.

Photo: COC Below: Preliminary sketch of Gilda by Michael Levine.

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Rigoletto Study Guide

Welcome Dear Educators and Students!

involved in the creation of the opera, and deepens your understanding of the characters and story. Is listening to an opera intimidating for you or your students? Not to worry. We’ve highlighted the composer’s musical techniques and their significance to the story or the overall development of opera in an easy-to-follow Listening Guide. Not sure if you’re going to understand the staging?

We’ve got that covered for you too. The What to Look For article explains the creative team’s concept, key points of inspiration for their adaptation of the piece, and visual elements to look for on stage. Use this study guide as the basis for stimulating and thought-provoking discussions before, during or after your visit to the opera.

Opera not only moves us, it can excite us. It’s a tool for learning about ourselves and those around us. The study of opera opens doors to new cultures, languages, artistic forms, important events in history, literary forms, music and so much more.

The operas presented in the Canadian Opera Company’s 2011/2012 season will provide an educational playground for stimulating, thought-provoking discussions and analysis on history, literature, art, language, social behaviours and further examination of universal human themes.

Giuseppe Verdi’s Rigoletto is particularly intriguing as many of its big hits like “La donna è mobile” (“Woman is fickle”) have been appropriated as standard tunes in modern day commercials for pizza or cheese or cellphone ring tones. But the depth of the piece is more profound than that. Verdi’s operas and music made significant contributions to the development of the art form and warranted him the title of “father of Italian opera.” And Christopher Alden’s new COC production probes the darker aspect of the story: the harsh male-dominated world of the Victorian-era and the deceitful seduction of women that such a permissive social environment fostered.

Katherine Semcesen Associate Director, Education and Outreach

To help you discover the significance of Verdi’s famous opera, the COC has designed a study guide to empower you to be an engaged listener and observer, and encourage you to actively participate in the opera experience. The Rigoletto study guide introduces you to the key figures

Preliminary sketch of Rigoletto by Michael Levine.

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Rigoletto: Characters and Synopsis MAIN CHARACTERS Name The Duke of Mantua Rigoletto Gilda Sparafucile Maddalena Giovanna Count Monterone Marullo Borsa Count Ceprano Countess Ceprano

Description The cynical and lustful Duke Jester in the Duke’s court Rigoletto’s daughter Hired assassin Sparafucile’s sister Gilda’s nurse Nobleman Nobleman Courtier Nobleman Count Ceprano’s wife

SYNOPSIS ACT I The Duke arrives at a party in his palace and boasts to his guests of his conquests with women, telling them that he has just seen a beautiful young woman in a nearby church, but that her identity is unknown to him. Count Monterone then enters and publicly accuses the Duke of ruining his daughter. Monterone is arrested and is mocked by Rigoletto, the Duke’s jester, as he is led away.

Monterone responds by laying a curse on Rigoletto. Later, following a brief meeting with the assassin Sparafucile who offers to rid Rigoletto of any enemies he might have, Rigoletto returns to his home where he lives with his beautiful daughter, Gilda. The Duke has since learned that the girl he saw at the church lives in this house and he enters the courtyard. He waits for Rigoletto to leave, and proceeds to woo the innocent Gilda, telling her that he is a poor student. Later, the Duke’s courtiers enter, wishing to avenge the cruel taunts of the hated jester and plotting to punish Rigoletto. They believe Gilda is Rigoletto’s mistress and trick him into helping them kidnap her. Only when they are taking her away does Rigoletto realize he’s been fooled. Rigoletto remembers Monterone’s curse.

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Voice Type Tenor Baritone Soprano Bass Contralto Soprano Bass Baritone Tenor Bass Mezzo-soprano

Pronunciation MAN-choo-uh rig-uh-LEH-toh JIL-duh spar-a-foo-CHEE-leh ma-da-LAY-na djoh-VAH-na mon-te-RO-neh ma-ROO-lo BOR-sa che-PRA-no

ACT II The courtiers return to the palace with Gilda. The Duke takes her to his private chambers. Rigoletto arrives and is refused entry to the chamber by the Duke’s courtiers.

He reveals to all assembled that Gilda is his daughter and, soon after, she rushes out and into the arms of her father. Gilda tells Rigoletto how the Duke stole her heart by playing the role of a humble student, and although he has ruinously deceived her, she still loves him. Rigoletto swears vengeance on the Duke.

ACT III Maddalena, Sparafucile’s sister, has lured the Duke to an inn. Rigoletto has hired Sparafucile to carry out the offer proposed earlier and pays him. He instructs Sparafucile to deliver the Duke’s corpse to him by midnight. Maddalena has become fond of the Duke and convinces Sparafucile to spare his life and take the life of the next person to enter the inn. Gilda, overhearing their conversation, decides to sacrifice herself out of love for the Duke; she enters and is stabbed. Rigoletto returns to claim his corpse, and upon hearing the Duke in the distance, opens the sack to discover the body of Gilda. As Gilda dies asking for forgiveness, Monterone’s curse is fulfilled.

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Rigoletto Study Guide

Rigoletto: Composer and Librettist Biographies COMPOSER BIOGRAPHY Giuseppe Verdi (1813 – 1901) Born in the small village of Roncole, in the Duchy of Parma, Giuseppe Verdi started music lessons early, around the age of four. At seven, he was given a spinet* and, by the age of nine, was playing the organ at a local church. He was sent to school in Busseto just before his 11th birthday, and here his musical training really began. He composed all through his teen years and, from the ages of 18 to 22, Verdi studied composition formally in Milan, subsidized by his wealthy father-in-law to-be, Antonio Barezzi. He returned to Busseto in 1836 and married Margherita Barezzi, his benefactor’s daughter, with whom he had two children. During the next few years, Verdi conducted and composed for the local Philharmonic Society. In 1839, Verdi’s first opera, Oberto, conte di San Bonifacio, received its premiere at La Scala, Milan. Oberto was a success but its composition and premiere were surrounded by tragedy: at approximately one-year intervals, both of Verdi’s children and his wife died. This was followed by the dismal reception for Verdi’s comic opera, Un giorno di regno (1840). Verdi was shattered, but with the encouragement of colleagues, including the soprano Giuseppina Strepponi, he was persuaded to fling himself into his work. Verdi then embarked on a stunningly prodigious phase of composition, starting with the triumph of his Nabucco (1842). By the time Rigoletto premiered in 1851, he had achieved fame and success as the foremost Italian opera composer in the world. He had also fallen in love with Giuseppina, who would become his life-long partner and then wife. After living in various cities, dependent on where his next premiere was occurring, Verdi and Giuseppina settled on a farm near Busseto in 1851, their home-base for the rest of their lives.

After the premiere of La Traviata (1853), Verdi’s operatic output slowed (by his own impressive standards). The following 18 years produced six new works. In 1859, Verdi finally married Giuseppina after being together for 10 years. His success and financial stability enabled him to choose only those commissions he wished to take. That same year Verdi’s name was adopted as a slogan for Italian nationals of the Risorgimento**: “Viva VERDI” stood for “Viva Vittorio Emanuele Re D’Italia.” As a powerful and beloved symbol of this movement, Verdi was persuaded in 1861 to become a member of the newly-formed Italian parliament. This intense period of composition and

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political turmoil ended with the premiere of one of his most famous operas, Aida, in 1871. The remaining years of Verdi’s life were spent building his financial strength***, working on non-operatic works such as his Requiem (1874), and reworking his previous operas. Verdi completed just two operas in his last 30 years, Otello (1887) and Falstaff (1893), but they are both masterpieces. Verdi died in 1900 and was buried beside his wife – who had predeceased him by three years – at Casa di Riposo, a home for retired musicians in Milan, which he had funded. His funeral procession was accompanied by tens of thousands of mourners, who sang “Va pensiero,” the chorus of Hebrew slaves from Nabucco, a chorus which had come to symbolize the Italian Risorgimento.

*A spinet is a type of harpsichord (piano-like instrument) with strings at an angle of about 30 degrees to the keyboard, going towards the right. **il Risorgimento (the Resurgence) This was a 19th-century political and social movement under Victor Emanuel that sought to unify the individual states of the Italian peninsula into a single Kingdom of Italy, which, after decades of *** Verdi was struggle, occurred in the antithesis of the 1861. struggling artist with little financial talent. He negotiated his own contracts directly and successfully and invested his money well. He built a very comfortable life for himself, and was wable to help others less fortunate than himself.

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LIBRETTIST BIOGRAPHY Francesco Maria Piave (1810 – 1876)

Although the two worked closely together and had formed a tight friendship, Verdi was not blind to the weaknesses

Born May 18, 1810 in Murano, Italy, librettist Francesco Maria Piave first studied in Rome to become a priest, before moving on to philosophy and finally journalism. In 1842, he became resident poet and performance director at Teatro La Fenice in Venice, where he remained until 1860.

of Piave’s writing and sometimes called in other writers to refine the work. Piave was nonetheless admired for his theatrical sense and his ability to create stirring, catchy lyrics in arias (solos). In addition to working with Verdi, Piave also wrote almost 30 libretti for other composers including Mercadante and Pacini.

In 1859, Piave moved on to work at the opera house La Scala in Milan, where he suffered a stroke eight years later that led to his eventual death on March 5, 1876.

Left: Preliminary sketch of Ceprano by Michael Levine. Right: Preliminary sketch of The Duke by Michael Levine.

During this period, Piave collaborated on many operas with Verdi, including Ernani (1844), I due Foscari (1844), Macbeth (1847), Il Corsaro (1848) and Stiffelio (1858). Their next opera, Rigoletto (1851), was a great success but La Traviata (1853) failed miserably at its first outing – only to return in triumph a year later. Other collaborations included Simon Boccanegra (1857), Aroldo (1857) and La forza del destino (1862).

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Rigoletto Study Guide

Rigoletto at a Glance composed: 1849 – 1851

In searching for a subject for a new opera for the opera house La Fenice, in Venice, Italy, Verdi demonstrated overwhelming enthusiasm for Le roi s’amuse, Victor Hugo’s 1832 play which caused a scandal at its Paris premiere, setting off a riot and closing after only one performance.

It tells the tale of the amorous and amoral Francis I of France (the Duke in the opera) and his arrogant buffoon, Triboulet (Rigoletto) whose daughter Blanche (Gilda) falls in love with the king. It was one of the key works of the French Romantic movement, intermingling politics and sex in a savage attack on the monarchy and the decadent aristocracy. Following the French Revolution, and the subsequent reign and ultimate defeat of Napoleon, writers like Hugo felt that the arts could provide a platform to incite revolt against unjust kings and to correct social inequalities.

Verdi must have known he was playing with fire when he chose the play but this did not dampen his belief that Le roi was “the greatest subject and perhaps the greatest drama of all modern times… Triboulet is a creation worthy of Shakespeare!” Unfortunately, the play’s controversial history did him no favours when confronting the censors who watched over Italy’s city states, always on the lookout for even the slightest hint of subversion. As fate would have it, 1850 marked the year in which the Austrian army had reoccupied Venice after it had experienced a 15-year period of independence. The Austrians instituted strict censorship of the arts and were very touchy about attacks on the ruling class and suspicious of any attempt to encourage Italian patriotism.

SOURCE MATERIAL:

lackeys. You are all bastards,” was deemed too violent. In spite of the “absolutely forbidden” verdict, discussions between the censor’s office and the opera’s librettist, Piave, continued, and ultimately Rigoletto was given its premiere, albeit with compromises made on both sides. The main alterations to Hugo’s play involved changing the names of all the characters and shifting the scene from the French court to a “minor absolutist Italian state” with a fictional sovereign. This shift in location may have even helped the opera’s ultimate popularity as it placed the opera in a setting that was more relevant and familiar to the Italian public at the time. But even after the successful Venice premiere, Rigoletto continued to encounter problems with censorship as long as Italy was divided and ruled by nervous monarchs. Depending on the whims of the local censor, the opera was subject to various cuts and adjustments as it played in different cities throughout Italy.

Premiere: March 11, 1851, Teatro La Fenice, Venice, Italy

Length of PERFORMANCE: Approximately two hours and 45 minutes with one intermission.

In November 1850 Verdi heard back from the President of La Fenice that the censors had forbidden the production of Rigoletto. They objected to the portrayal of the Duke (a figure of authority) as evil and that evil remained triumphant at the opera’s end, with the Duke surviving.

They also took issue with the heroine’s suicide not being depicted as a sin and that no priest was present to administer the last rites. The character of Rigoletto was also found objectionable, and his curse directed at the courtiers, “Your mothers gave themselves to their

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Audience Reception: The opera was received with wild enthusiasm from the Italian audiences and enjoyed immediate success in the opera world.

Version Performed by COC: A new co-production with English National Opera based on the 2000 Lyric Opera of Chicago production directed by Christopher Alden and designed by Michael Levine.

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Rigoletto: What to Look for [COMING SOON]

Details of props and set pieces designed by Michael Levine, set and costume designer. Photos: COC

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Image of set model designed by Michael Levine, set and costume designer. Photo: COC

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Rigoletto: Listening Guide The world of opera in the 19th century was defined by Verdi. He was one of the quintessential opera composers of all time and a bit of a musical rebel. He challenged traditional musical practices and wrote some of the most brilliantly accessible operas, which, over the last two centuries, have provided countless people with their first experience of opera.

made significant contributions to the Risorgimento political movement advocating for the unification of Italy.

Over the course of his compositional career, Verdi moved from writing operas with sung-spoken text (recitative) punctuated by moments of show-stopping pieces, and focused on more through-composed works, emphasizing more seamless musical transitions between scenes to propel the overall drama. It was the story, emotions and relationships between characters which motivated Verdi’s compositions, not the spectacle of opera. There are several themes which dominate Verdi’s operas, two of which are at the centre of Rigoletto. The interest in exploring the strong relationship between a parent and child stems from Verdi’s devastating loss of his children as infants. Second, growing up in an era of major political upheaval in Italy, it is no surprise that stories involving politics and people of power captured Verdi’s attention.

In addition to his 28 operas, Verdi left behind a small, yet highly influential, collection of sacred works including a Stabat Mater, and a Requiem mass in memory of Alessandro Manzoni, an Italian novelist and poet who

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If the music has the following traits, it’s probably Verdi: Emphasis on a continuous story and drama in his operas Serious topic Themes of love (father/daughter VERDI’S relationships) and politics (man vs. country; MUSICAL TRAITS: man vs. political ideas, power) Memorable melodies Dramatic, emotional music Theatrical use of chorus

Full-sounding orchestra that accompanies the singer and is not overpowering The tracks listed below correspond to the complimentary Rigoletto Listening Guides CD, available with school group bookings only.

Based on the recording: Rigoletto, Deutsche Grammophon, 457 753-2. Vienna Philharmonic and Vienna State Opera Chorus, Carlo Maria Giulini, conductor. Piero Cappuccilli, Plácido Domingo, Ileana Cotrubas.

MUSICAL EXCERPT #1 Act I, aria: “Gualtier Maldè… Caro nome” (“Gualtier Maldè… Dearest name”) CONNECTION TO THE STORY When Gilda asks him his name, instead of revealing his true identity, the Duke identifies himself as a poor student named Gualtier Maldè. Gilda sings blissfully about the name, which she believes is that of her beloved.

MUSICAL SIGNIFICANCE This is Gilda’s only aria (solo) in the entire opera, and it’s a memorable one. Her love takes vocal flight while she daydreams about the young man that she loves. Her girlish charm is portrayed in highly ornamental exuberant figures in her vocal line and her innocence is echoed in the delicate orchestral texture of flutes and violins. Solo violin figures representing a beating and fluttering heart punctuate the end of each confession of love. When Gilda sings that her thoughts and feelings will forever fly to the Duke (“Col pensier il mio desir a te sempre volerà”), Verdi adds a fermata (a prolongation of a note) to the word “volerà” (“will fly”) expressing Gilda’s eternal love.

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Rigoletto Study Guide

This aria also highlights Verdi’s intentional move away from the distinction between pieces in an opera, blurring the lines between solos, small ensembles (singing in groups of two or more), and choruses which helps the dramatic flow of the story. Verdi attempts a smooth transition into the next scene when he has the courtiers enter before Gilda’s solo is formally complete.

FURTHER REFLECTION Score vs. Stage: Gilda is meant to be a young girl, roughly the age of 15. Verdi’s music is too mature for a girl of that age to perform the role, especially night after night, without hurting her developing voice.

Casting directors have no choice but to find fully matured and developed female singers to sing the role to its full potential. This often provides directors and designers with a challenge of transforming a mature singer into Gilda’s youthful, innocent and naive character. What tricks or techniques would the director and designer have to use to make this transformation believable for the audience?

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MUSICAL EXCERPT #2 Act II, aria: “Cortigiani, vil razza dannata” (“You courtiers, vile accursed race”) CONNECTION TO THE STORY Rigoletto’s daughter Gilda has been kidnapped by the courtiers and brought to the Duke. Rigoletto begs for her return.

MUSICAL SIGNIFICANCE Verdi sets the jester’s passionate aria in three distinct sections, using different musical textures, tempi (speeds), and keys to explore Rigoletto’s troubled psychological deterioration. In the first section, Rigoletto denounces the courtiers for their cruelty with an angry and aggressive declamation, while a relentless, repetitive figure in the orchestra gives movement and pulse to Rigoletto’s mounting fury. The second section shows Rigoletto’s desperation to find his daughter as his vocal line becomes fragmented, giving way to more natural speech-like rhythms. Finally, Rigoletto turns to the courtiers he just condemned moments before, calling them more respectfully “miei signori” (“my lords”) and launches into a short lyrical passage over a light cello accompaniment. His vocal line is exposed, as is his mental and emotional anguish when he begs the courtiers to take pity on his sorrow and return his daughter to him.

FURTHER REFLECTION Rigoletto (from the French rigolo = funny) is a tragic jester. Court jesters made their first appearance in European courts around 1200. The court jester was a person of many talents: entertainer, advisor, commentator, critic and servant to their master. At the start of the opera, Verdi and Piave offer us some insight into Rigoletto’s role in the Duke of Mantua’s court. Through wit and sarcasm, Rigoletto encourages the Duke to pursue Count Ceprano’s wife; he later mocks Monterone, who enters seething with anger and revenge after learning that the Duke seduced his daughter. Rigoletto is not an innocent bystander in the Duke’s scandalous ways. Knowing this, do you think Rigoletto brought misfortune upon himself and his daughter Gilda? Discuss why or why not.

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MUSICAL EXCERPT #3 Act III, aria: “La donna è mobile” (“Woman is fickle”) CONNECTION TO THE STORY The lustful Duke expresses his disdain for women.

MUSICAL SIGNIFICANCE This tuneful and catchy melody, possibly the most well-known piece in operatic history, has become synonymous with cheese and pizza commercials in contemporary culture. Surprisingly the Duke’s aria has nothing to do with these popular, delicious foods, but is instead the Duke’s sexist perspective on the female’s unpredictable nature. Ironically enough, this solo is also often a stand-alone, light-hearted party piece, but when contextualized in the opera it’s a horrifying look into the sexist, degrading, selfish and insensitive character of the Duke.

Musically, it is a stroke of genius, as its tunefulness serves an important dramatic purpose in the story.

Because it is so immediately identifiable, when the Duke briefly sings it offstage again at the end of the opera, Rigoletto comes to a shocking realization that the corpse in the sack on stage cannot be the Duke’s.

The technique of recurring themes and melodies that help move the story or add layers of complexity to the drama, was further developed in the late 19th century by German composer Richard Wagner.

So the next time you hear that tune from Rigoletto, “La donna è mobile” (“Woman is fickle”) as a cellphone ringtone, remember that it is as catchy today as it was over 160 years ago.

FURTHER REFLECTION Verdi was aware of the potential instantaneous popularity of the tuneful piece and also aware that its catchiness could undermine the dramatic effect. He withheld the piece until the dress rehearsal to limit the opportunity of it being leaked to the public before the opera’s premiere. What consequences may have occurred if the public gained access to such a melody prior to opening night? Discuss how this problem can translate to our time and place, with music being leaked on the internet before official release dates.

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MUSICAL EXCERPT #4 Act III: “È amabile invero cotal giovinotto” (“That man is really charming”) CONNECTION TO THE STORY During a storm, Sparafucile and Maddalena plot to kill the Duke, while Gilda plans to replace him, sacrificing herself.

MUSICAL SIGNIFICANCE This musical section is relatively unclassifiable in terms of 19th-century musical practices, as there is an unprecedented freedom and flow to the music in the final act of the opera. This particular section may best be described as a trio (a piece sung by three people) between Maddalena, Sparafucile and Gilda. The speed of the music evokes the brewing storm and haste in which Maddalena and Sparafucile decide to change their plans and not kill the Duke, while Gilda decides to sacrifice herself instead. The humming of an offstage male chorus interjects the vocal lines, representing the oncoming literal and metaphorical storm. The rhythmic drive of the orchestra, explosive dynamics (loudness of the music) and powerful vocal lines express the

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storm’s terrifying climax, with the stabbing of Gilda, before suddenly dying away to virtual silence.

FURTHER REFLECTION Using technology available to him at the time, and people and materials around him, Verdi built a soundscape (using sounds outside of their traditional purpose to evoke a particular sound and atmosphere) to help create the idea of a storm on stage. When and how are soundscapes used today? Try creating your own soundscape using your body and everyday materials.

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Rigoletto Study Guide

The COC offers a wide variety of school programs for Kindergarten to Grade 12.

To find out more, visit our website at coc.ca/Explore or contact: Education & Outreach Canadian Opera Company Tel: 416-306-2392 Fax: 416-363-5584 education@coc.ca Rigoletto Study Guide editors: Katherine Semcesen, Associate Director, Education and Outreach; Nikita Gourski, Development Communications Assistant; Suzanne Vanstone, Senior Communications Manager, Editorial; Gianna Wichelow, Senior Communications Manager, Creative; Carly Anderson, Children & Youth Programs, Manager The COC Gratefully Acknowledges:

Charitable Registration Number: 11883 4829 RR0001

Above: Four Seasons Centre for the Performing Arts. Photo: Sam Javanrouh

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Rigoletto Study Guide