In any case, visual adjustments must be made. In this gritty story of the Duke of Mantua — with his corrupt court and throwaway attitude toward women — Rigoletto isn’t a jester so much as a sharp-tongued butler was in a natty uniform. There’s little hint that the character was originally written to be a hunchback. And when at home, Rigoletto looked to be a typical guy in the suburbs. No problem. Really.
Elsewhere, bright ideas and good intentions weren’t well translated to the strengths of this particular cast by revival director Daniel Pelzig. Tenor Joshua Blue, for one, sang the Duke in a pleasingly robust manner with a wonderful upper range and some of the most perfect vocal trills I’ve heard in years. But when not being a public statesman, and when slumming at the roadhouse, he became awkward and unconvincing.
It was at least heard in the orchestra writing. But even though music director Corrado Rovaris’ stamp was evident in the meticulous musical preparation, his usual performance electricity was muted. You know that Rigoletto is working when, despite the dated plot devices, you care about the characters enough that you hope it won’t end tragically.
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