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Concept is all. And director Jonathan Miller’s decision to set Verdi’s disturbing melodrama in 1950s New York Little Italy is genius. This is the fourteenth revival of the 1982 production.
It reminds us how opera and theatre has lost a great artist.
Elaine Taylor-Hall is the revival director and her restaging is brilliantly executed. The synthesis of dance, singing and acting makes this feel almost like a commercial musical.
American baritone Weston Hurt debuts as Rigoletto. His hero/anti-hero is multi-layered and his voice is, as promised by ENO’s publicity, is certainly ‘golden’.
Also debuting is Chinese tenor Yonzhao Yu as the mobster gang boss, Duke. This is a magnetic portrayal of the despicable but lovable Casanova. Yu’s voice is huge and thrilling.
British coloratura soprano Robyn Allegra Parton thrills as Gilda, Rigoletto’s daughter. Not only is she an extraordinary singer but she has the rare ability to reveal backstory.
William Thomas’ hired gun, Sparafucile is a skulking presence in Little Italy’s backstreets. His strong bass voice, and his disturbing presence, adds a demonic and seductive level to the production.
In this production design is crucial and the husband and wife designers Rosemary Vercoe and Patrick Robertson are known for their long term collaboration with Miller. This exceptional team of Miller, Vercoe and Robertson, rocketed Verdi’s 1851 melodrama into the world of Francis Ford Coppola’s Godfather. Miller would be proud of this revival where Richard Farnes’ bravura orchestral lead makes this work unforgettable.
Rigoletto
English National Opera
Ends 21 November
Julia Pascal
Concept is all. And director Jonathan Miller’s decision to set Verdi’s disturbing melodrama in 1950s New York Little Italy is genius. This is the fourteenth revival of the 1982 production.
It reminds us how opera and theatre has lost a great artist.
Elaine Taylor-Hall is the revival director and her restaging is brilliantly executed. The synthesis of dance, singing and acting makes this feel almost like a commercial musical.
American baritone Weston Hurt debuts as Rigoletto. His hero/anti-hero is multi-layered and his voice is, as promised by ENO’s publicity, is certainly ‘golden’.
Also debuting is Chinese tenor Yonzhao Yu as the mobster gang boss, Duke. This is a magnetic portrayal of the despicable but lovable Casanova. Yu’s voice is huge and thrilling.
British coloratura soprano Robyn Allegra Parton thrills as Gilda, Rigoletto’s daughter. Not only is she an extraordinary singer but she has the rare ability to reveal backstory.
William Thomas’ hired gun, Sparafucile is a skulking presence in Little Italy’s backstreets. His strong bass voice, and his disturbing presence, adds a demonic and seductive level to the production.
In this production design is crucial and the husband and wife designers Rosemary Vercoe and Patrick Robertson are known for their long term collaboration with Miller. This exceptional team of Miller, Vercoe and Robertson, rocketed Verdi’s 1851 melodrama into the world of Francis Ford Coppola’s Godfather. Miller would be proud of this revival where Richard Farnes’ bravura orchestral lead makes this work unforgettable.
Julia Pascal © 2024.
By Julia Pascal • music, opera, theatre, year 2024 • Tags: Julia Pascal, music, opera, theatre