The Salzburg Landestheater put on a musically-excellent performance of Verdi‘s Rigolettoin the Haus für Mozart, for a rare Sunday afternoon show. The production showcased two young stars, Ramë Lahaj (from Kosovo) as the Duke, and Eri Nakamura (from Japan) as Gilda. Lahaj’s voice was big and lyrical, as he inhabited his role. Nakamura’s voice, large enough to fill the hall, nevertheless came across innocent and almost delicate. The Italian Ivan Inverardi’s experienced Rigoletto nuanced but bold baritone portrayed a tragic court jester, despite having to act around some atrocious staging (more on which below).
Young British conductor Adrian Kelly drove the orchestra along to depict the dark tragedy of this opera, setting the mood right from the overwhelming introduction. In the draft, Verdi had originally titled this opera “The Curse” before settling on naming it after the court fool, but despite the opera’s lighter tuneful moments, it remains dark, permeated by evil. Kelly’s musical direction never let this concept slip.
Unfortunately, the Landestheater contracted a German director to stage this production. Nothing good ever comes from German (or German-trained) opera directors in the last half century, and today’s production was no exception. Amélie Niermeyer explained in the program notes that since the censor forced Verdi to change the setting of the opera (based on a real-life jester and his king from early 16th Century France) to a fictionalized Italian town which could have been anywhere (in this case, Verdi chose Mantua), she saw no reason not to make this an opera about anti-Fascism, and move the setting to the 1940s and Salò, Italy (capital of the Italian Social Republic, a puppet state established in German-occupied northern Italy from 1943-1945).
Niermeyer set the action on the elevator landings of different floors in an apartment building. It is unclear who the Duke was supposed to be – the program notes suggested he might be the building’s owner. At any rate, the setting was impossible to pull off with the plot. There was no “outside” and characters had to remain on the landing where they were on set with action they should not have been in the same room for. This made some scenes especially difficult, which the director resolved in strange ways (such as having Gilda, and then Rigoletto after her, get into the middle of the Duke’s love scene with Maddalena; or even the abduction scene where Rigoletto somehow does not realize he is in his own apartment – or at least the elevator landing where he sleeps with Gilda – and yes, there was a suggestion that maybe he does sleep with his daughter). The final scene took place on the roof, with the Duke sleeping in a deck chair while the rest of the action took place (and somehow he never got wet in the storm), exiting via the elevator after patting Rigoletto on the shoulder.
None of this made much sense, but it also destroyed the tragic character of Rigoletto, who is very much the product of his time in history. Put him into the Salò Republic and he becomes a willing accomplice of the Duke and really rather despicable. His tragedy is that he is stuck as a court jester who knows too much and tries to stay alive and protect his daughter from an evil world, an unenviable situation. This Rigoletto was just ridiculous, and a caricature of a bad man. Inverardi was brave to try to give him back some of his character development.
However, this was not the worst of the staging. During the first scene, in order to demonstrate the depravity of the Duke, Niermeyer populated the stage with prepubescent boys and girls in various stages of undress. This was not artistic license. This was child pornography. Normally I favor deporting German opera directors; this time I’d suggest arresting her.