Rigoletto. Brief summary of Giuseppe Verdi. Rigoletto Rigoletto contents

D. Verdi opera “Rigoletto”

The opera “Rigoletto” was written based on the play “The King Amuses himself” by V. Hugo. The drama was based on real acting characters, only transferred into original plot collisions. After the first premiere, the play was strictly prohibited by censorship as undermining the authority of the king. Only after the fall of the regime of Napoleon III, 50 years after the first production, the drama was again presented to the public. In Russia at that time there were no productions at all, for ethical reasons. This opera shows true and pure love, which forces a young girl to sacrifice herself for the sake of her beloved. In addition, it contains betrayal, betrayal, a hired killer, mysticism and the deep pain of a father who lost his only daughter, but was forced to remain in his mask of a jester.

Brief summary of the opera Verdi Read “Rigoletto” and many interesting facts about this work on our page.

Characters		Description
Duke of Mantua	tenor	a reveler who easily breaks the hearts of girls
	baritone	Duke's jester hiding his true feelings under a mask
Gilda	soprano	Rigoletto's young daughter, whom he hides from everyone
Sparafucile	bass	hitman brought by Rigoletto
Maddalena	contralto	the bandit's sister, in love with the Duke of Mantua
Giovanna	mezzo-soprano	Gilda's maid
Count Monterone	baritone	takes revenge on the Duke for his daughter and curses him along with Rigoletto
Count Ceprano	bass	calls for revenge on Rigoletto for his mockery

Summary of “Rigoletto”

The opera begins at the Duke's ball, where Rigoletto mocks the courtiers, playing his role as a jester. Suddenly Count Monterone appears, who came to take revenge on the loving Duke for his daughter and curses him, and with him the jester Rigoletto. If the Duke did not attach any importance to this, then the jester became frightened and began to see this as the cause of all tragedies.

Rigoletto has a beautiful daughter, Gilda, who lives far away in a remote suburb. Hetried in every possible way to protect her from harm, but did not take into account the main enemy - the Duke of Manuana, who, disguised as a poor student, seduces her and himself declares his love. Meanwhile, the courtiers, wishing to take revenge on the evil and sarcastic Rigoletto, stole his daughter at night and took him to the Duke’s chambers. Wanting revenge, the desperate jester hires the killer Sparafucile to deal with the loving traitor. But even here the Duke turns out to be more cunning, he falls in love with the mercenary’s sister Maddalena, he confesses his feelings to her and she persuades her brother not to commit murder.

Sparafucile agrees with his sister to kill whoever knocks on the door first. Gilda, who overheard their conversation, decides to sacrifice herself in order to save her beloved and goes to the killer. A terrible storm breaks out, during which a terrible tragedy occurs. Satisfied, Rigoletto hurries to the chambers to enjoy revenge and finds the corpse of his daughter Gilda there.

Interesting Facts

The opera "Rigoletto" was successfully staged in all theaters in Europe except France. The author of the original source, Victor Hugo, could not come to terms with the numerous edits made to the work, and thus protested. He gave permission for the production only 6 years after the premiere.
The first readers of the opera's libretto found it obscene and demanded a number of changes.
Francesco Maria Piave wrote a total of 10 librettos for D. Verdi , it was he who helped the composer conduct difficult negotiations with theater censors.
In terms of popularity, the opera “Rigoletto” has always occupied a leading position and in 2012, it was in 9th place in the list of the best performances in the world.
Some Italian theaters, after the high-profile premiere of “Rigoletto,” immediately introduced the opera into their repertoire, although it was sometimes performed under other names: “Viscardello”, “Clara of Perth”.
Verdi turned to Hugo's works several times; in addition to Rigoletto, he also created the opera Ernani.

The composer's main work on the opera was done in the period from 1850 to 1851.
Despite the fact that the original source was banned, the play based on it was widely staged on all European stages.
During the first production of the opera in Russia, critics and audiences received the performance surprisingly well. It was at this time that the protest against the “dominance of Italianism” began and many works were subjected to harsh criticism.
Unlike the original source, the composer chose to name his work after the main character - “Rigoletto”.
The play was first filmed in 1946. The film was directed by K. Golonne, and T. Gobbi played the role of Rigoletto. The film-opera appeared only in 1983, thanks to the work of director Jean-Pierre Ponnelle. The main roles were played by L. Pavarotti, I. Wicksell and E. Gruberova.
The premiere of the play was very successful, as evidenced by the fact that the audience, going home, hummed and whistled the Duke’s famous song for a long time.
It was the opera “Rigoletto” that Verdi considered his best creation.

Popular arias

The Duke’s ballad from the first act “This or that - I can’t tell” - listen

Gilda's aria from the second act “The heart is full of joy” - listen

Rigoletto's monologue “He and I are equal” - listen

The Duke's song from the fourth act “The Heart of a Beauty” - listen

Duke’s aria from the third act “I see a sweet dove” - listen

The history of the creation of "Rigoletto"

Surprisingly Verdi began work on the opera precisely at a time when the play was strictly prohibited. The composer was so attracted by the romantic mood of the work that he took a risk. The opera's libretto was entrusted to Francesco Maria Piave. They understood that they would have to work hard on the plot and changed the location to Italy.

All references to King Francis the First were removed from the plot, crowd scenes were shortened and political implications were minimized. The author of the drama, V. Hugo, was against such changes, but Verdi remained adamant. He was more interested in a romantic plot, rather than a political game, and his main character was the jester, and not the reveler king. However, the composer still had to give in on something. When the opera was finished, not a single theater agreed to accept it in this form; everyone demanded that the names of the characters be urgently changed so that there would be no allusions to famous personalities. Verdi had to agree after long refusals from almost all theaters in the world. Only when Francis I was transformed into the Duke of Mantua, and his jester Triboulet into Rigoletto, did the composer receive consent for the production.

Productions

The long-awaited premiere of the play took place in Venice on March 11, 1851. The public very warmly received another masterpiece of the brilliant composer. The role of Rigoletto was performed by Felice Varesi, the Duke by Raffaele Mirate. The opera immediately began its triumphal march through the cities of Europe. The public liked not only the new plot, but also the composer’s music. The image of the main character, Rigoletto, was also unusual. He is rightfully considered the most striking hero created by Verdi. A person with a very high intellect is forced to perform a role that is too humiliating for him at the court of a noble gentleman. Only alone with his own daughter does he appear real, without a mask.

In Russia, admirers of Verdi's talent were able to appreciate his work on January 31, 1853 at the Bolshoi (Kamenny) Theater in St. Petersburg. The parts were performed by Italian artists. Domestic performers presented “Rigoletto” only in October 1859 at the Bolshoi Theater in Moscow. After this, the opera firmly entered the repertoire of both foreign and domestic theaters.

In 1925, the directors tried to bring the version closer to the original source and even staged an opera called “The King is Amusing”; the names of the characters were also changed. However, this version did not take root on the theater stage.

Among modern productions, the long-awaited premiere on the New Stage of the Bolshoi Theater in December 2014 should be noted. Video director Robert Carsen presented his version, where the action of the play took place under the circus dome. But critics considered this production a failure, citing the director’s work as the main reason. The 2015 version staged at the Berlin Komische Oper was considered more successful. Barry Koski's directorial work has been noted by many theater critics. Although his version is endowed with some attributes of a circus, there is no vulgarity and debauchery. Rigoletto appears in the first ball scene in a huge dress with hoops and a mask, with a very creepy grin. New heroes gradually emerge from under his “outfit.” This technique is considered very unusual and effective.

Another interesting version was presented to the public at the Paris Opera in the spring of 2016. Director Klaus Guth built a real giant box on the stage, with video projections periodically appearing on the walls.

One of Hugo’s best tragedies, “The King Amuses himself,” inspired the most talented composer G. Verdi to write the next work. As a result, the resulting opera “” is rightfully recognized as one of the best and is staged with great success on various stages around the world. Agree that the famous Duke's Song is well known even to those who are far from the world of classical music. We invite you to watch the most famous work by G. Verdi in the original production.

Giuseppe Verdi "Rigoletto"

ACT ONE
PICTURE ONE
(A ball in the palace of the Duke of Mantua. A crowd of courtiers and ladies in the halls at the back of the stage. Pages come and go. In the distant halls they dance. The Duke comes out of one of the halls, talking with Borsa.)
DUKE
Count, I will finish the story about the stranger.
A simple city girl, she is so beautiful.
BORSA
Did you happen to meet her at church?
DUKE
Yes, it’s almost the third month.
BORSA
But where does he live?
DUKE
In a distant suburb;
At night someone comes to her secretly.
BORSA
Does the girl know your name?
DUKE
Hardly.
(A group of gentlemen and ladies walks across the stage.)
BORSA
How many beauties!.. Take a look.
DUKE
Countess di Ceprano is the most charming of them all.
BORSA
So that the Count doesn’t hear you...
DUKE
What's in it for me?
BORSA
He'll tell someone...
DUKE
(laughing)
He will probably oblige me with this!
This or this - I don’t understand:
They all shine with beauty, like stars!
My heart trembles with love,
but does not know the annoying chains.
Sweet caresses are a consolation for us,
repetition sometimes gets boring;
yes, today I’m the only one fascinated,
but... what can I do?.. tomorrow I’ll say the same about the other one,
maybe tomorrow I’ll say the same about the other one!
Assurances can be tiresome;
For us, love always kills constancy.
And let everyone remember more often:
where there is no freedom, there can be no love!
I laugh at the jealous lover,
and I feel sorry for the deplorable admirer,
oh, if only I suddenly fell in love with a beauty,
either Argus himself, or Argus himself will not look after her...
Oh no, Argus himself will not look after her.
(Goes to meet Countess Ceprano.)
Where are you going? Cruel!..
COUNTESS
I must go to Ceprano with my husband.
DUKE
You decorated my ball,
with its beauty everyone’s hearts were captivated,
Its beauty captivated everyone's hearts.
I swear that I am your first passionate fan.
Am I really suffering for so long in vain?
COUNTESS
Calm down...
DUKE
Your passionate admirer
Am I really suffering for so long in vain?
COUNTESS
I beg you, calm down!
DUKE
I swear that I am your first passionate fan!
Love has been troubling this soul for a long time.
(Gives his hand to the Countess and leaves with her.)
RIGOLETTO
(to Count Ceprano)
What do you have above your forehead?
dear Count di Ceprano?
(Ceprano makes a sign of impatience and follows the Duke.)
RIGOLETTO
(to the courtiers)
How angry he is - look!
BORSA AND COURTIERS
Glorious ball!
RIGOLETTO
Oh yeah!
BORSA AND COURTIERS
How cheerful our Duke is today!..
RIGOLETTO
Isn't that always the case? Here's new news!
He is faithfully devoted to beauties and cards.
(laughing)
But he will show himself in battles:
took the siege of the countess seriously
and she will be able to cuckold her husband!
(Exits. The dancing continues. Marullo quickly enters.)
MARULLO
Here's the news! Here's the news!
BORSA AND COURTIERS
Tell me, what's the matter?
MARULLO
I will amaze you all...
BORSA AND COURTIERS
Tell me quickly...
MARULLO
(laughing)
Ha ha!.. Rigoletto...
BORSA AND COURTIERS
Well?
MARULLO
Just a miracle!..
BORSA AND COURTIERS
Has the hump really fallen off and he has become beautiful?
MARULLO
Much more interesting!
(solemnly)
Our jester... you understand...
BORSA AND COURTIERS
Well, what then?
MARULLO
Lover!
BORSA AND COURTIERS
Lover! Is it possible?
MARULLO
The hunchback decided to turn into cupid...
BORSA AND COURTIERS
And what a miracle!
BORSA, MARULLO AND THE COURTIERS
The hunchback fell in love!..
DUKE
(Enters accompanied by Rigoletto and addresses him.)
I don’t know a husband more intolerable than Ceprano!
Like an angel, the Countess is kind and sweet!
RIGOLETTO
Would you kidnap?
DUKE
As if it were possible!
RIGOLETTO
Today!
DUKE
Have you forgotten about your husband?
RIGOLETTO
There's a prison for that!
DUKE
Oh no!
RIGOLETTO
Well... in exile...
DUKE
No, no, impossible!
RIGOLETTO
(Shows with a sign.)
You can just remove the head that way.
(Count Ceprano listens to the conversation.)
CEPRANO
(About myself)
Snake heart!

DUKE
(hitting Ceprano on the shoulder)
What can you tell us?
RIGOLETTO
Yes, this is understandable... what to do with such an empty head?
CEPRANO
(draws his sword in anger)
Destroyer!
DUKE
Wait!

Characters:

Duke of Mantua		tenor
Rigoletto, court jester		baritone
Gilda, his daughter		soprano
Sparafucile, bandit		bass
Maddalena, his sister		mezzo-soprano
Giovanna, Gilda's maid		mezzo-soprano
Marullo	) courtiers	tenor
Borsa		bass
Count Ceprano		bass
Countess Ceprano		mezzo-soprano
Page		soprano
Officer		baritone
Courtiers, pages, servants.
The action takes place in Mantua (Italy) in the 16th century.

HISTORY OF CREATION

The plot of the opera is based on V. Hugo’s drama “The King Amuses himself,” written in 1832. After the first performance in Paris, which caused a political manifestation, it was banned as undermining the authority of royal power. Hugo sued, accusing the government of arbitrariness and restoring censorship destroyed by the 1830 revolution. The trial received wide public attention, but the ban was not lifted - the second performance of the play “The King Amuses himself” took place in France only half a century later.

Hugo's dramaturgy attracted me with its bright romantic contrasts, violent clash of passions, freedom-loving pathos, and intense, dynamic development of the action. Verdi considered the plot of “Rigoletto” to be the best of all that he set to music: “Here there are strong situations, variety, brilliance, pathos. All events are determined by the frivolous and empty character of the Duke; Rigoletto’s fears, Gilda’s passion, etc. create wonderful dramatic episodes.” The composer interpreted Hugo's images in his own way, which caused a protest from the writer. In a historical drama with large crowd scenes and numerous details of the life and everyday life of the court of Francis I (1515-1547). Verdi was first of all very interested in psychological drama.

Hugo's text has been abridged. The plot acquired a more intimate sound; the emphasis was shifted to showing the personal relationships of the characters in psychologically acute situations. Some cuts were caused not only by the specific features of the opera genre and the individual plans of the composer, but also by fears of a censorship ban. However, Verdi failed to avoid a collision with censorship. At the beginning of 1850, he developed a detailed plan for the opera, called “The Damnation,” and commissioned F. Piave (1810-1876), an experienced librettist who collaborated with Verdi for many years, to write the text. Some of the music had already been written when censorship demanded a radical revision of the libretto. The composer was asked to remove the historical character - the king, replace the ugly main character (the jester Triboulet) with a traditional opera handsome man, etc. Verdi decisively rejected the demands of censorship, but the action of the opera was transferred from country to country for a long time, the title was changed, until, finally, Francis I turned into the Duke of Mantua, Triboulet - into Rigoletto, and the opera received a more neutral name after the new name of the jester.

The score for Rigoletto was completed extremely quickly - in forty days. The premiere took place on March 11, 1851 in Venice. The opera was received enthusiastically and quickly spread across all European stages, bringing Verdi widespread popularity.

PLOT

Ball at the palace of the Duke of Mantua. The Duke courts Countess Ceprano, making her husband jealous. The jester angrily mocks Count Cepraio and advises the duke to kidnap the lovely countess that very night; the enraged Ceprano vows revenge on Rigoletto. The fun of the ball is disrupted by the appearance of Count Monterone, who demands that the Duke return his daughter to him. The jester mocks Monterone. The Duke orders the Count to be taken into custody. Monterone threatens the Duke with terrible revenge for his daughter’s dishonor and curses Rigoletto.

The Curse of Monterone haunts Rigoletto. Returning home late at night, he meets the assassin Sparafucile, who offers him his services. The jester is worried about the fate of his dearly beloved daughter Gilda, who lives in a remote suburb with her maid Giovanna. He forbade her to leave the house, fearing the Duke and his corrupt servants. One day in church, Gilda met a young man whose beauty captivated her. Suddenly the girl sees him in front of her. It's the Duke disguised as a student. He passionately vows his eternal love to Gilda. Left alone, the girl indulges in sweet dreams. Meanwhile, courtiers gather at Rigoletto’s house: they plan to kidnap Gilda, considering her the jester’s mistress. Tormented by gloomy forebodings, Rigoletto returns home and encounters them in the dark. To dispel the jester's suspicions, one of the courtiers talks about the impending kidnapping of Countess Ceprano, who lives nearby. Rigoletto agrees to help the courtiers. Then they put on a mask, tying it with a scarf on top. Gilda's muffled screams can be heard from afar. Rigoletto tears off the bandage and is horrified to discover that his daughter has been kidnapped.

The Duke is upset: the beautiful stranger has disappeared, all searches were in vain. The courtiers, wanting to cheer him up, talk about the night's adventure - Rigoletto's mistress is now in the palace. The Duke happily hurries to his chambers. Rigoletto enters, humming a song; he looks for his daughter everywhere, hiding his despair under feigned carelessness. Having learned that Gilda is in the palace, he angrily demands that his daughter be returned to him, but the courtiers are deaf to the threats and pleas of the jester. At this time, Gilda runs out of the Duke's chambers in tears. Rigoletto vows to avenge his daughter's shame; meeting Monterone, who is being led to prison, strengthens his resolve. Gilda, in fear, begs her father to forgive the Duke.

Sparafucile hangout on the river bank. Dead night. The Duke comes here in disguise; he is carried away by a new passion - for the beautiful Maddalena, the bandit's sister. Convinced of her lover's betrayal, Gilda says goodbye to her bright dreams. Her father sends her to Verona; having changed into a man's suit, she must leave Mantua tonight. Rigoletto will remain to pay Sparafucile for the murder and throw the body of the hated Duke into the river himself. A thunderstorm begins. Maddalena, fascinated by the handsome young man, asks her brother to spare him. After much persuasion, Sparafucile agrees to kill the first person who knocks on the door. Gilda overhears this conversation; she still loves the Duke and came here to warn him of the impending danger. To save her lover, Gilda is ready to give her life. She boldly enters the bandit's house. The storm subsides. Rigoletto returns. Sparafucile brings out a bag containing a dead body. The jester triumphs - he is finally avenged! About to throw the corpse into the water, Rigoletto is horrified to hear the duke's cheerful song. He cuts the bag and sees Gilda dying.

MUSIC

"Rigoletto" is one of the most famous works. The action of the opera is based on sharp dramatic contrasts. At its center is a sharp psychological drama, multi-faceted outlining the image of Rigoletto - a caustic court jester, a gentle, deeply suffering father, a formidable avenger. He is opposed by the frivolous and depraved duke, outlined against the backdrop of court life. Mental purity and selfless devotion are personified in the image of young Gilda.

These contrasting characters are vividly embodied in the music of the opera, with a remarkable wealth of psychological shades.

The orchestral introduction features the tragic melody of a curse, which is important in the opera; it gives way to the carefree ball music that opens the first act. Against the background of dances and dance choirs, the Duke’s brilliant, cheerful ballad “This or that - I can’t tell” sounds. Monterone's curse "Once again an insult" brings intense drama; the pathetic vocal melody is supported by a menacing increase in orchestral sonority.

In the second act, the scene with Sparafucile and the episode of the kidnapping, with their ominous overtones, set off the light episodes associated with the image of Gilda. A small duet between Rigoletto and Sparafucile is preceded by the motif of a curse. Rigoletto’s monologue “We are equal with him” reveals a wide range of the hero’s experiences: a curse on fate, ridicule of the Duke, hatred of the courtiers, tender love for his daughter. The duet of Rigoletto and Gilda captivates with lyrically warm melodies. The duet between Gilda and the Duke begins in dreamy tones; the beautiful melody of the Duke’s confession “Trust me, love is sunshine and roses” is warmed by sincere feeling. Gilda's coloratura aria "Heart is Full of Joy" embodies the image of a happy, loving girl. Her bright, serene mood is contrasted with the disturbing coloring of the kidnapping scene, in the center of which is the mysterious, muted chorus of the courtiers “Hush, hush.”

The third act begins with the Duke's aria “I See a Sweet Dove”; the melodious melody conveys a tender, enthusiastic feeling. The aria is followed by a boastful chorus of courtiers. In a large dramatic scene, Rigoletto's mental anguish is conveyed; glances of anger (“Courtesans, fiends of vice”) are replaced by passionate pleas (“O lords, have mercy on me”). The duet of Rigoletto and Gilda is preceded by Gilda’s ingenuous story “I entered the temple humbly”; then the voices of the characters unite in an enlightened and mournful melody. Monterone's curse sounds like a dark contrast. He is answered by Rigoletto’s determined phrases: “Yes, the hour of terrible vengeance has come.”

In the fourth act, an important place is occupied by the characterization of the Duke - the most popular song “The Heart of a Beauty”. The quartet's music embodies contradictory feelings with remarkable perfection: the Duke's love confession, Maddalena's perky, mocking answers, Gilda's mournful sighs, Rigoletto's gloomy remarks. The next scene, accompanied by an offstage choir singing with their mouths closed, takes place against the backdrop of a thunderstorm, which emphasizes Gilda's mental turmoil; the drama reaches its climax at the moment when the duke's carefree song is heard. The final duet between Rigoletto and Gilda, “There in the Sky,” echoes their duet in Act II; at the end of the opera the curse motif sounds menacingly again.

1 On Soviet stages it is usually staged in four acts.

2 Verdi has the second scene of the first act.

3 Often produced in productions.

Lectures on musical literature: Verdi

This is Verdi's first mature opera (1851), in which the composer moved away from heroic themes and turned to conflicts generated by social inequality.

At the core plot- Victor Hugo's drama "The King Amuses himself", banned immediately after the premiere, as undermining the authority of royal power. To avoid clashes with censorship, Verdi and his librettist Francesco Piave moved the location from France to Italy and changed the names of the characters. However, these “external” alterations in no way diminished the power of social denunciation: Verdi’s opera, like Hugo’s play, exposes the moral lawlessness and depravity of secular society.

The opera consists of three acts, during which a single storyline associated with the images of Rigoletto, Gilda and the Duke develops intensely and rapidly. Such a focus exclusively on the fate of the main characters is characteristic of Verdi's dramaturgy.

Already in Act I - in the episode of Monterone's curse - that fatal outcome is destined to which all the passions and actions of the heroes lead. Between these extreme points of the drama - the curse of Monterone and the death of Gilda - there is a chain of interconnected dramatic climaxes, inexorably approaching the tragic ending. This:

the scene of Gilda's abduction in the finale of Act I;
Rigoletto's monologue and the following scene with Gilda, in which Rigoletto swears revenge on the Duke (Act II);
The quartet of Rigoletto, Gilda, the Duke and Maddalena is the culmination of Act III, opening the direct path to the fatal denouement.

Image of Rigoletto

The main character of the opera, Rigoletto, is one of the brightest images created by Verdi. This is a person over whom, according to Hugo’s definition, there is a triple misfortune (ugliness, infirmity and a despised profession). In contrast to Hugo’s drama, the composer named his work after him. He managed to reveal the image of Rigoletto with the deepest truthfulness and Shakespearean versatility. This is a man of great passions, possessing an extraordinary mind, but forced to play a humiliating role at court. Rigoletto despises and hates the nobility, he does not miss an opportunity to mock the corrupt courtiers. His laughter does not spare even the paternal grief of old man Monterone. However, alone with his daughter, Rigoletto is completely different: he is a loving and selfless father.

The very first theme of the opera, which opens a short orchestral introduction, is associated with the image of the main character. This leitmotif of the curse, based on the persistent repetition of one sound in a sharp-dotted rhythm, dramatic c-moll, in trumpets and trombones. The character is ominous, gloomy, tragic, emphasized by intense harmony. This theme is perceived as an image of fate, inexorable fate.

The second theme of the introduction was called the “theme of suffering.” It is based on sorrowful second intonations, interrupted by pauses.

IN Iopera picture(ball in the Duke's palace) Rigoletto appears in the guise of a jester. His antics, antics, and lame gait are conveyed by the theme sounding in the orchestra (No. 189 by notes). It is characterized by sharp, “prickly” rhythms, unexpected accents, angular melodic turns, and “clownery” performances.

A sharp dissonance in relation to the entire atmosphere of the ball is the episode associated with Monterone's curse. His menacing and majestic music characterizes not so much Monterone as the state of mind of Rigoletto, shocked by the curse. On the way home, he cannot forget about it, so ominous echoes of the l-va curse appear in the orchestra, accompanying Rigoletto's recitative “I am forever cursed by that old man.” This recitative opens 2 picture of the opera, where Rigoletto participates in two duet scenes that are completely opposite in color.

The first, with Sparafucile, is an emphatically “businesslike”, restrained conversation between two “conspirators”, which did not require cantilena singing. It is designed in gloomy colors. Both parties are thoroughly recitative and never unite. The “cementing” role is played by a continuous melody in the octave unison of cellos and double basses in the orchestra. At the end of the scene, the curse sounds again, like a haunting memory.

The second scene, with Gilda, reveals a different, deeply human side of Rigoletto’s character. Feelings of paternal love are conveyed through a wide, typically Italian cantilena, a striking example of which are Rigoletto's two ariosos from this scene - "Don't talk about her to me"(No. 193) and “Oh, take care of the luxurious flower”(address to the maid).

The central place in the development of the image of Rigoletto is occupied by him scene with courtiers after Gilda is kidnapped from 2 actions. Rigoletto appears singing jester's song without words, through the feigned indifference of which hidden pain and anxiety are clearly felt (thanks to the minor scale, the abundance of pauses and descending second intonations). When Rigoletto realizes that the Duke has his daughter, he drops his mask of feigned indifference. Anger and hatred, passionate plea are heard in his tragic aria-monologue "Courtesans, the fiends of vice."

The monologue has two parts. The first part is based on dramatic recitation, in it the expressive means of the orchestral introduction to the opera are developed: the same pathetic C minor, verbal expressiveness of the melody, energy of the rhythm. The role of the orchestra is extremely large - the non-stop flow of string figurations, the repeated repetition of the sigh motif, the excited pulsation of sextuplets.

Part 2 of the monologue is built on a smooth, soulful cantilena, in which rage gives way to prayer (“Gentlemen, have mercy on me).

The next step in the development of the image of the main character is Rigoletto the Avenger. This is how he appears for the first time in the new duet scene with her daughter in Act 2, which begins with Gilda's story of the kidnapping. Like the first duet of Rigoletto and Gilda (from the 1st movement), it includes not only ensemble singing, but also recitative dialogues and arioso. The change of contrasting episodes reflects the different shades of the emotional state of the characters. The final section of the entire scene is usually called the "revenge duet". The leading role in it is played by Rigoletto, who swears cruel revenge on the Duke. The nature of the music is very active, strong-willed, which is facilitated by a fast tempo, strong sonority, tonal stability, upward direction of intonations, persistently repeating rhythm (No. 209). “Duet of Revenge” ends all 2 acts of the opera.

The image of Rigoletto the avenger is developed in the central issue 3 actions, brilliant quartet , where the fates of all the main characters are intertwined. The gloomy determination of Rigoletto is contrasted here with the frivolity of the Duke, and the mental anguish of Gilda, and the coquetry of Maddalena.

During a thunderstorm, Rigoletto makes a deal with Sparafucile. The picture of the storm has a psychological meaning; it complements the drama of the heroes. In addition, the Duke’s carefree song “Heart of Beauties” plays a crucial role in Act 3, serving as an extremely striking contrast to the dramatic events of the finale. The last performance of the song reveals to Rigoletto a terrible truth: his daughter has become a victim of revenge.

Rigoletto's scene with the dying Gilda, their last duet - this is the denouement of the whole drama. His music is dominated by declamation.

The opera's two other leading characters - Gilda and the Duke - are psychologically deeply different.

The main thing is in the image Gilda- her love for the Duke, for which the girl sacrifices her life. The characterization of the heroine is given in evolution.

Gilda first appears in a duet scene with her father in Act I. Her entrance is accompanied by a bright portrait theme in the orchestra. The fast tempo, cheerful C major, dance rhythms with “mischievous” syncopations convey both the joy of meeting and the bright, youthful appearance of the heroine. The same theme continues to develop in the duet itself, linking short, melodious vocal phrases.

The development of the image continues in the following scenes of Act I - the love duet of Gilda and the Duke and Gilda's aria.

Remembering a love date. The aria is built on one theme, the development of which forms a three-part form. In the middle section, the aria's melody is colored with virtuoso coloratura ornamentation.

In addition to “Rigoletto,” Verdi wrote the opera “Ernani” based on the plot of Hugo.

RIGOLETTO

Opera in three acts (four scenes)1

Libretto by F. Piave

Characters:

Courtiers, pages, servants.

The action takes place in Mantua (Italy) in the 16th century.

HISTORY OF CREATION

Of the year. The trial received a wide public outcry, but the ban was not lifted - the second performance of the play “The King Amuses himself” took place in France only half a century later.

Hugo's drama attracted Verdi with its bright romantic contrasts, stormy clash of passions, freedom-loving pathos, and intense, dynamic development of the action. Verdi considered the plot of “Rigoletto” to be the best of all that he set to music: “Here there are strong situations, variety, brilliance, pathos. All events are determined by the frivolous and empty character of the Duke; Rigoletto’s fears, Gilda’s passion, etc. create wonderful dramatic episodes.” The composer interpreted Hugo's images in his own way, which caused a protest from the writer. In a historical drama with large crowd scenes and numerous details of the life and everyday life of the court of Francis I (1515-1547). Verdi was first of all very interested in psychological drama.

Hugo's text has been abridged. The plot acquired a more intimate sound; the emphasis was shifted to showing the personal relationships of the characters in psychologically acute situations. Some cuts were caused not only by the specific features of the opera genre and the individual plans of the composer, but also by fears of a censorship ban. However, Verdi failed to avoid a collision with censorship. At the beginning of 1850, he developed a detailed plan for the opera, called “The Damnation,” and commissioned F. Piave (1810-1876), an experienced librettist who collaborated with Verdi for many years, to write the text. Some of the music had already been written when censorship demanded a radical revision of the libretto. The composer was asked to remove the historical character - the king, replace the ugly main character (the jester Triboulet) with a traditional opera handsome man, etc. Verdi decisively rejected the demands of censorship, but the action of the opera was transferred from country to country for a long time, the title was changed, until, finally, Francis I turned into the Duke of Mantua, Triboulet into Rigoletto, and the opera received a more neutral name after the new name of the jester.

The score for “Rigoletto” was completed extremely quickly - in forty days. The premiere took place on March 11, 1851 in Venice. The opera was received enthusiastically and quickly spread across all European stages, bringing Verdi widespread popularity.

“Rigoletto” is one of Verdi’s most famous works. The action of the opera is based on sharp dramatic contrasts. At its center is a sharp psychological drama, multi-faceted outlining the image of Rigoletto - a sarcastic court jester, a gentle, deeply suffering father, a formidable avenger. He is opposed by the frivolous and depraved duke, outlined against the backdrop of court life. Mental purity and selfless devotion are personified in the image of young Gilda.

These contrasting characters are vividly embodied in the music of the opera, with a remarkable wealth of psychological shades.

The orchestral introduction features the tragic melody of a curse, which is important in the opera; it gives way to the carefree ball music that opens the first act. Against the background of dances and dance choirs, the Duke’s brilliant, cheerful ballad “This or that - I can’t tell” sounds. Monterone’s curse “Once again an insult” brings intense drama; the pathetic vocal melody is supported by a menacing increase in orchestral sonority.

In the second act 2, the scene with Sparafucile and the episode of the kidnapping, with their ominous overtones, set off the light episodes associated with the image of Gilda. A small duet between Rigoletto and Sparafucile is preceded by the motif of a curse. Rigoletto’s monologue “We are equal with him” reveals a wide range of the hero’s experiences: a curse on fate, ridicule of the Duke, hatred of the courtiers, tender love for his daughter. The duet of Rigoletto and Gilda captivates with lyrically warm melodies. The duet between Gilda and the Duke begins in dreamy tones; the beautiful melody of the Duke’s confession “Trust me, love is sunshine and roses” is warmed with sincere feeling. Gilda’s coloratura aria “Heart is Full of Joy” embodies the image of a happy, loving girl. Her bright, serene mood is contrasted with the alarming coloring of the kidnapping scene, in the center of which is the mysterious, muted chorus of the courtiers “Hush, hush.”

The third act begins with the Duke’s aria “I See a Sweet Dove”; the melodious melody conveys a tender, enthusiastic feeling. The aria is followed by a boastful chorus of courtiers. In a large dramatic scene, Rigoletto's mental anguish is conveyed; glances of anger (“Courtesans, fiends of vice”) are replaced by passionate pleas (“O lords, have mercy on me”). The duet of Rigoletto and Gilda is preceded by Gilda’s ingenuous story “I entered the temple humbly”; then the voices of the characters unite in an enlightened and mournful melody. Monterone's curse sounds like a dark contrast. He is answered by Rigoletto’s determined phrases: “Yes, the hour of terrible vengeance has come.”

In the fourth act, an important place is occupied by the characterization of the Duke - the most popular song “The Heart of a Beauty”. The quartet's music embodies contradictory feelings with remarkable perfection: the Duke's love confession, Maddalena's perky, mocking answers, Gilda's mournful sighs, Rigoletto's gloomy remarks. The next scene, accompanied by an offstage choir singing with their mouths closed, takes place against the backdrop of a thunderstorm, which emphasizes Gilda's mental turmoil; the drama reaches its climax at the moment when the duke's carefree song is heard. The final duet of Rigoletto and Gilda “There in the Skies”3 echoes their duet of the second act; at the end of the opera the curse motif sounds menacingly again.

1 On Soviet stages it is usually staged in four acts.

2 Verdi has the second scene of the first act.

3 Often produced in productions.

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Brief summary of Giuseppe Verdi. Rigoletto