Search Results for: George Gagnidze
“Everyone cried out at the idea of putting a hunchback on the stage; well, there you are. I was very happy to write Rigoletto…and it is my best opera.” – Giuseppe Verdi, July 26, 1852
Giuseppe Verdi’s Rigoletto is Victor Hugo’s play Le roi s’amuse on steroids. Verdi’s music energizes the story’s tragic drama, a father-daughter tale that ends unhappily. In the opera, the title character is a court jester to the womanizing Duke of Mantua, who openly mocks his social superiors in order to please the Duke. One day, he mocks the wrong man – the Count Monterone, whose daughter has been seduced and discarded by the Duke. The Count warns him never to make light of a father’s grief, a threat which haunts Rigoletto, as he is father to the beautiful Gilda, whom he keeps secluded from eyes of lecherous men like the Duke. When Gilda falls in love with the Duke, Rigoletto decides to have him murdered, but his plans go awry and Gilda ends up dying as a result.
Rigoletto’s most famous aria is the Duke’s Act IV show of callousness in the form of “La donna e mobile” (women are fickle), an unforgettable tune that returns—to heart wrenching effect—at the very end of the opera. The main point of the aria? Women are flighty and untrue, but men still need their love. (Warning: This may change your perspective on your favorite pasta commercial.)
Plácido Domingo as Rigoletto and Vittorio Grigolo as The Duke
Giacomo Puccini’s Gianni Schicchi and Ruggero Leoncavallo’s Pagliacci are rarely – if ever – done together. The most common pairing for Pagliacci is Pietro Mascagni’s Cavalleria Rusticana, another tragic love triangle of sorts. This season, LA Opera has forgone tradition by staging two gigantic productions together in its season opening double bill. It’s a marriage of comedy and tragedy and a posthumous reconciling for two composers, who fought against each other so fervently, after Puccini premiered La Bohéme (Leoncavallo also completed a version of the Bohéme story).
It’s also a huge undertaking set-wise.
From their view in the house, audience members are not privy to the pure magic that goes on behind the curtain, while they are in the midst of intermission. But with a view from the bridge, it’s possible to see both the production and the set-up.
The bridge is a platform walkway, connecting our second-floor backstage area with lighting equipment. Before you ask, this seat is not open to the public, but it does provide an interesting view of what it takes to stage a sizeable double bill, such as Gianni Schicchi/Pagliacci. Once the curtain falls on the 50-minute Gianni Schicchi, it’s the stage crew’s time to shine. Over the course of the next 30 minutes, Schicchi’s gigantic, 1940s-inspired Florence set is removed and a 1980s-inspired bohemian Pagliacci set takes its place.
George Gagnidze singing in The Metropolitan Opera Spring Highlights Concert
Pagliacci opens not with a love triangle scene between Canio, Nedda, and Silvio, but instead with a clown. This is Tonio, the fool of Canio’s troupe. He emerges and addresses the audience directly—“Si puo, si puo,” asking for indulgence.
There’s a lot to be said about LA Opera’s opening show, a double bill of Gianni Schicchi and Pagliacci. We’ve been watching rehearsals all week and have compiled a list of a few of our favorite things:
2. If you’re on a low carb diet, stay off the set. There’s spaghetti in both of the one-act shows, and it’s real! Of course we make accommodations for our actors if they have dietary restrictions, but those aren’t rubber prop noodles!