James Clayton and Elena Perroni in NZ Opera's Rigoletto. Photo / Jinki Cambronero
James Clayton and Elena Perroni in NZ Opera's Rigoletto. Photo / Jinki Cambronero
OPINION
NZ Opera signed off a bumper season with the grandest of finales – Verdi’s Rigoletto.
This opera’s compulsive narrative, broaching issues of power, innocence, lust and revenge, has the adrenalin blast of a high-powered episode from The Sopranos.
However, Thursday night’s celebrated 1993 Elijah Moshinsky production chose to echo bigger screens, with its stylish homage to the 1960s cinema of Federico Fellini.
Michael Yeargan’s brilliant revolving set made for miracle transitions, from humble dressing room to sumptuous Ducal palace, complemented by Robert Bryan’s ever-resourceful lighting.
Shane Placentino, ably directing this revival, added many individual touches, particularly by moving smaller roles in and out of the lively men’s chorus.
This cast entertained with the energy and camaraderie of a seasoned theatrical troupe.
James Clayton in NZ Opera's Rigoletto. Photo / Jinki Cambronero
James Harrison’s Monterone impressively gave out his chilling curse and the occasional vocal rawness of Jud Arthur’s Sparafucile didn’t dilute the character’s trademark villainy.
Auckland audiences have enjoyed outstanding Australian baritones in Verdi’s title role from Michael Lewis in 2004 to Warwick Fyfe in 2012. On Thursday night James Clayton was easily their equal, subtle and sonorous in voice, tracking the inevitable downfall of his character through to heartrending and utter desolation at his daughter’s death.
Elena Perroni’s Gilda was exquisitely realised, especially in a succession of eloquent duets with Clayton. Her Caro Nome - one of the opera’s many killer tunes - inspired a predictable tumult of applause.
Amitai Pati’s handsome Duke seemed nervous at first, but grew in vocal stature, even if lines needed a tad more bloom to fully catch this swaggering if noble reprobate.
Australian mezzo Sian Sharp, crucial in the famous and thrilling quartet that hints at doom to come, skilfully balanced the libidinous Maddalena with, earlier on, a more demure and domesticated Giovanna.
This was truly an evening to carry one away, with a responsive Auckland Philharmonia in the pit, under James Judd who, for decades, has proved himself to be one of our liveliest batonmeisters. With one more performance on Wednesday, Rigoletto is not to be missed.
