Giuseppe Verdi

Rigoletto

Jan 20 - Apr 27 Buy Tickets from $25

Michael Mayer’s hit production of Rigoletto places the action in a neon-bedecked Las Vegas in 1960. Stephen Costello and Joseph Calleja alternate as the womanizing Duke, Olga Peretyatko is the innocent Gilda, and Željko Lučić reprises his heartbreaking take on the tragic title role. Pier Giorgio Morandi conducts.

Read Synopsis
  • Sung In
  • Italian
  • Met Titles In
  • English
  • German
  • Italian
  • Spanish
  • Estimated Run Time
  • 3 hrs 2 mins
  • House Opens
  • Act I 57 mins
  • Intermission 27 mins
  • Act II 32 mins
  • Intermission 32 min
  • Act III 34 mins
  • Opera Ends
Jan 20 - Apr 27 Buy Tickets from $25

Cast

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TBA

Performed
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World premiere: Teatro la Fenice, Venice, 1851. Met premiere: November 16, 1883. A dramatic journey of undeniable force, Rigoletto was immensely popular from its premiere and remains fresh and powerful to this day. The story, based on a controversial play by Victor Hugo, tells of an outsider—a hunchbacked jester—who struggles to balance the dueling elements of beauty and evil that exist in his life. Written during the most fertile period of Verdi’s artistic life, the opera resonates with a universality that is frequently called Shakespearean.

Creators

Production Michael Mayer

Set Designer Christine Jones

Costume Designer Susan Hilferty

Lighting Designer Kevin Adams

Choreographer Steven Hoggett

Giuseppe Verdi

Composer

Giuseppe Verdi

Setting

Victor Hugo’s 1832 play Le Roi s’amuse, set at the court of King François I of France (circa 1520), is a blatant depiction of depraved authority. In adapting it, Verdi and Piave fought with the Italian censors and eventually settled on moving the story to the non-royal Renaissance court of Mantua, while holding firm on the core issues of the drama. In Michael Mayer’s Met production, the action unfolds in Las Vegas in 1960, a time and place with surprising parallels to the decadent world of the original setting.

Music

Rigoletto contains a wealth of melody, including one that is among the world’s most famous: “La donna è mobile.” All the opera’s solos are rich with character insight and dramatic development. The famous Act III quartet, “Bella figlia dell’amore,” is an ingenious musical analysis of the diverging reactions of the four principals in the same moment: the Duke’s music rises with urgency and impatience, Gilda’s droops with disappointment, Rigoletto’s remains measured and paternal, while the promiscuous Maddalena is literally all over the place. In the context of the opera, the merely lovely music becomes inspired drama.