I’ve been driving around with Acts 3 and 4 of Rigoletto in the car’s tape machine, and loving it. Not a famous production, just a cheap tape, but still enthralling. I’ve gotten away from just liking the “highlights” to appreciating all the music - that storm sequence as Gilda is killed is amazing - could well be overwhelming in production I imagine.
And I must admit that quartet is a masterpiece - a mystery of taste and harmony and timing. I can listen to it over and over and hear a different detail each time. Must be wonderful to sing it!
I bought a copy of the libretto and it has certainly helped my appreciation of the performances. It made sense of those final duets, for one thing. And explained that little snatch of *“La Donna e mobile” *. He wasn’t dead after all!
However - that plot!
Can any of you cultured opera lovers explain it to me? I mean does the Duke have sex with Gilda off-stage in Act 3? She doesn’t mention it specifically, and he doesn’t appear out of (the bedroom?) with her. But if he hadn’t then why was R so angry with him?
Also, the Duke had just been singing about how much he loved this woman . Did his love turn to indifference once he’d seduced her?
And if so, then why did she want to protect him? To the point of sacrificing her own life?
I know it’s a different time and a different culture, but do opera lovers just agree the plot is full of holes and ignore it, or does it make good sense in a way I just haven’t understood?
Another thing.
In Act 3 Rigoletto appears singing the *“la ra la ra la ra” * bit - so painful, and so believable. The courtiers torment him and then finally Gilda is delivered to him. Then the chorus say to each other “ let’s go into the next room where we can over hear him” and they go off.
Now to me that would be laying the grounds for them to go to the Duke and tell him that Rigoletto is planning revenge, and another plot twist. Nope. No more from the chorus. Presumably they all get changed, take off their make-up, hum a bit in scene four and go home early. So why not just say “we’re all going away now” rather than this overhearing business.
And then in the last act, what does Maddalena see in the Duke? One quick roll in the hay and she’s willing to go to bat for him too! Um, how attractive can a good tenor be?
Any operaphile who can enlighten me on how to approach the story of this wonderful opera will have my gratitude. I might even be willing to get stabbed and stuffed into a sack for you.
Not.
Redboss