Archive detail

Back to overview

Thu. May 9, 2019, 7 p.m. - 9:45 p.m. Vienna

Giuseppe Verdi

Rigoletto

Conductor: Giampaolo Bisanti, Director: Pierre Audi
With Attilio Glaser, Christopher Maltman, Andrea Carroll, Jongmin Park, Nadia Krasteva

 
Cast
Synopsis
Gallery
Trailer
  • Giuseppe Verdi  |  Musik
  • Giampaolo Bisanti  |  Conductor
  • Pierre Audi  |  Director
  • Christof Hetzer  |  Stage and costume design
  • Bernd Purkrabek  |  Light Design
  • Bettina Auer  |  Dramaturgie

Christopher Maltman | Rigoletto

Der britische Bariton CHRISTOPHER MALTMAN studierte Biochemie an der Warwick University und erhielt seine Gesangsausbildung an der Royal Academy of Music in London. Er ist Gewinner des Lieder-Preises beim renommierten Cardiff Singer of the World-Wettbewerb. Seither hat ihn seine Karriere an alle großen internationalen Opern- und Konzerthäuser gefuhrt. Aktuelle Auftritte umfassten bzw. umfassen unter anderem die Titelrolle in Don Giovanni bei den Salzburger Festspielen, in München und Koln; Papageno (Die Zauberflöte), Guglielmo (Così fan tutte) und Marcello (La Bohème) am Royal Opera House Covent Garden in London; Papageno, Figaro (Le nozze di Figaro), Sid (Albert Herring) beim Glyndebourne Festival; Papageno, Harlekin (Ariadne auf Naxos), Silvio (Pagliacci) an der New Yorker Metropolitan Opera; die Titelpartie in Billy Budd etwa an der Welsh National Opera, am Teatro Regio in Turin, in Seattle und Frankfurt. Weitere Auftritte führten bzw. führen ihn nach Paris, Berlin, zum Aldeburgh Festival, nach Zurich, an die Deutsche Staatsoper Berlin, nach Toulouse und an die Nederlandse Opera. Er ist auch ein anerkannter Lied- und Konzertsänger.

Andrea Carroll | Gilda

ANDREA CARROLL studied at the Manhattan School of Music. She has received numerous awards (for example the Houston Grand Opera´s Ealeanor McCollum Competition, Metropolitan Opera National Council Audition) and has received grants for example from the Shoshana Foundation or the William Matheaus Sullivan Foundation. Most recently she was a member of the Houston Grand Opera Studio for two years. There, she sang parts such as Musetta in La Bohème, Adele in Die Fledermaus, Anne Egerman in A Little Night Music, Woglinde in Das Rheingold. At the Utah Opera she sang Susanna in Le nozze di Figaro and Leila in Les pêcheurs de perles. At the Wolf Trap Opera she performed Corinna in Il viaggio a Reims and Zerlina in Don Giovanni. At the Glimmerglass Opera she was Julie Jordan in Carousel and Rose Segal in Later the Same Evening. Furthermore she sang Rosalba in Florencia en el Amazonas at the Washington National Opera; at the Seattle Opera she performed as Echo in Ariadne auf Naxos. As of September 2015 she is member of the ensemble of the Wiener Staatsoper. 

Jongmin Park | Sparafucile

The bass, Jongmin Park, studied singing in his hometown of Seoul and was a member of the Milan Accademia Teatro alla Scala, where he studied with Mirella Freni, Luigi Alva and Renato Bruson. from 2010 until 2013, he was in the ensemble of the Hamburg State Opera. Here, he took over the roles, among others, of Colline, Sparafucile and Sarastro. In summer 2014, he gave his debut at the ROH Covent Garden, at the BBC Proms in London and in the City of London Festival 2014. He won the International Tschaikowski competition and received the Wagner-Prize at the Plácido Domingo Operalia competition. In 2010, he gave his first Lieder evening in Munich, and in spring 2015, he completed his first recital in the Vienna Musikverein. He is also successful as a concert singer, and has sung Beethoven's 9th Symphony with the London Symphony Orchestra, in Vesperae solennes de

Confessore
at the Christmas concert in the Scala and in Verdi's Requiem in Seoul. At the Wiener Staatsoper, he gave his debut in 2011 as Colline and has continued to sing, among others, Zuniga, Mönch (Don Carlo) Basilio, Billy Jackrabbit, Quinault, Gremin and Sir Giorgio.

 
 

Nadia Krasteva | Maddalena

Nadia Krasteva was born in Sofia. She received her singing training at the Music Academy in Sofia and in Rome at the Academy Boris Christoff. In the 2001/2002 season, she sang at the opera houses in Sofia, Plovdiv, Carna, Burgas and Stara Zagora and is an ensemble member of the Vienna State Opera since 2002 where she made her debut as Fenea in Nabucco. Since then, she has performed more than 30 works, like for example Carmen, Adalgisa (Norma), Maria Gesualdo, Lé­onor (La Favorite), Olga, Giulietta (Contes d’Hoffmann), Ma­rina Mnischek (Boris Godunow), Meg Page (Falstaff), Ulrica (Ballo in maschera), Eboli (Don Carlos), Flosshilde (Rheingold, Götterdämmerung), Erste Norn (Götterdämmerung), Polina und Daphnis (Pique Dame), Maddalena (Rigoletto), Sonjetka (Lady Macbeth von Mzensk), Preziosilla. Furthermore, she performs and has performed among others at the Deutschen Oper Berlin, the Scala, the Bayerischen Staatsoper, in Hamburg, Sofia, Bratislava, Savonlinna, Riga as well as in Parma, the Lyric Opera Chicago, in Valencia, the De Nederlandse Opera and the Bolschoi Theater in Moscow. Future performances are among others, leading her to the Met and Munich.

Act 1 At a party, the Duke of Mantua reveals that he has been pursuing a young woman he does not know. He considers being faithful to one woman laughable; to him all women are attractive. Goaded by his jester Rigoletto, he has just set his sights on Countess Ceprano. Marullo tells the other courtiers about his latest discovery: the ugly Rigoletto seems to have a lover. Since Rigoletto is hated at court but is untouchable, the courtiers – led by Count Ceprano – plan to take their revenge on him by abducting his presumed lover. When Rigoletto mocks Count Monterone, who arrives to accuse the Duke of having dishonoured his daughter, Monterone curses the despot and his cynical jester. On his way home, Rigoletto encounters the hired killer Sparafucile. When he unexpectedly offers Rigoletto his services, Rigoletto seems interested. He realizes that Sparafucile is a reflection of himself: both of them are outsiders. Disconcerted by Monterone’s curse, Rigoletto blames society and his dubious metier for his own wickedness. At home with his daughter Gilda, whom he tries to keep hidden away from the world, Rigoletto seeks the happiness that life denies him. He sidesteps all her questions about her identity and his own. Out of fear of losing her Rigoletto forbids his daughter all contact with the outside world, other than attending church. A young man is nevertheless courting her. It is the duke, who is passing himself off as a poor student. When Rigoletto leaves the house, the Duke assails Gilda with declarations of love that seem to her to be her girlish dreams coming true. Noise from the street forces the Duke to leave: the courtiers have arrived to abduct Rigoletto’s “lover”. Rigoletto, whom they have blindfolded, even helps them in their endeavour, believing that they are abducting Countess Ceprano. Too late, Rigoletto realizes what has happened. Act 2 The Duke finds Rigoletto’s house deserted. He laments his lost love, for whom for the first time he believes to have felt deep affection. At court, he discovers that Gilda has been brought by his courtiers to the palace, and he hurries to be with her. Rigoletto searches frantically for his daughter, but the courtiers are of no assistance to him, even when he reveals to them that they abducted not his lover but his daughter. When the Duke sends Gilda away, she tries to confide in her father. But Rigoletto can think only of bloody revenge. Act 3 To “cure” Gilda of her love for the Duke, Rigoletto takes her to Sparafucile’s house and forces her to watch as the Duke takes his pleasure with the prostitute Maddalena (Sparafucile’s sister). Rigoletto sends his daughter away to prepare for their flight and instructs Sparafucile to kill the Duke. However, Gilda has returned secretly and overhears how Maddalena persuades her brother to murder the next person to come to the house before midnight instead of the Duke. Gilda is firmly resolved to sacrifice herself for her love. She knocks at the door.  A short while later, Sparafucile gives Rigoletto a corpse in a sack. At the moment of his greatest triumph – Rigoletto feels like the omnipotent avenger – he hears the Duke’s voice.Horrified, he opens the sack and sees his dying daughter. Without comprehending what has happened, Rigoletto believes that Monterone’s curse has caused the tragedy.