Rigoletto

History of the composition

When in 1850 the theater of Fenice of Venice orders a new opera to him, Verdi is already a type-setter to which notoriety authorizes freedom to choose its subjects. He asks Piave, with which he already worked for Ernani, I due Foscari, Macbeth, He Corsaro and Stiffelio , to lean on the play Kean of Alexandre Dumas, but he feels well that it will need a subject more " énergique" on which to work.

Made green quickly his choice on the king stops has fun of Victor Hugo. He will write in Piave: " Let us test! The subject is noble, immense, and comprises a character who is one of most splendid creations whose theater of all times and all the countries can enorgueillir." .

It is however a subject highly discussed and Hugo himself already had troubles with the Censure in France, which banished the production of its part after its first representation twenty years earlier and was to continue prohibition lasting thirteen more years. The Italy of North is then controlled by the Austria. They are thus the lightnings of the Austrian censure which Verdi initially will undergo.

As of the beginning, Made green, as much as Piave, are conscious of the risks. A letter was found in which Verdi writes: " Become your legs with your neck, effective through the city and finds to me an influential person who obtains the permission to make to me " The King amuse". Follows a correspondence between careful Piave and one Made green already in possession of the order, from where it arises that both underestimated despite everything the power and the intentions of the Austrians. Even Guglielmo Brenna, the friendly secretary of Fenice which had promised to them that they would not have problems with the censure, is in the error.

At the beginning of the summer 1850, rumors start to be spread in connection with a probable prohibition of this production by the Austrian censure. This one would consider that the work of Hugo would curl the Crime of injures majesty and would never allow such a scandalous work to be represented in Venice.

In August, Made green and Piave are withdrawn prudently with Busseto to continue the composition and to prepare a defensive strategy. They write with the theater, ensuring that the doubts of the critics with regard to the morality of work are not justified but that considering the little of granted time, very little could be made. Work is secretly called by its authors " Maledizione" (curse). This semi-official title, brought to its attention by its spies, is used by the Austrian critic of Gorzkowski to reinforce, if need be, the violent one terms of the letter by which he definitively refuses to grant the production.

In order not to waste all their work, Piave tries to re-examine the booklet and even sometimes happens to draw another opera from it the Duke from Vendôme in which a duke is substituted for the sovereign and where the uneven one and the curse disappears. Made green is completely opposed to this solution and still prefers to negotiate directly with the critics and to discuss each point of work.

At this time, Brenna intervenes in the capacity as mediator in the conflict and shows to the Austrians letters and other articles depicting the bad character but the great value of the artist. To the end the parts agree to move the action of the opera of the court of king de France towards that of a duchy, France or Italy, and to re-elect the characters. The scene in which the sovereign withdraws himself in the room of Gilda must be removed and visits it of the Duke to the Taverna more intentional but is not caused by a trick. The uneven one (at the Triboulet origin) becomes Rigoletto (of familiar French funny ). The title of work is also modified.

For the first, Verdi has Felice Varesi for the role of Rigoletto, the young tenor Raffaele Mirate for that of the Duke and Teresina Brambilla for Gilda (although Verdi had preferred Teresa De Giuli Borsi). Teresina Brambilla was a famous soprano exit of a family of musicians; one of his/her nieces, Teresa Brambilla, was the wife of Amilcare Ponchielli.

The representation is a triumph and, as of the following day, the air of the cynical Duke, the Aria gave It mobile E , is on all the lips.

Because of the risks of copy, Verdi had required the secrecy of all its singers and musicians. Mirate could have its partition only a few days before the first and was forced to swear that he would not even sing nor would not whistle the air of gave It mobile E .

Giulia Cori, the girl of Varesi, thus reported the performance of his/her father at the time of the first: the false bump which it was to carry was really uncomfortable; it was so much badly with its ease that, though he was a completely experienced singer, he had a crisis of panic at the time to enter in scene. Made green, realizing immediately that it was paralyzed, pushed it harshly, so that it appeared on scene while being caught up with awkwardly. The public, believer to see a stage business there, had an amused reaction.

Characters

the duke of Mantoue (Tenor)
Rigoletto , its uneven buffoon (Baritone)
the count Ceprano (Low)
the countess Ceprano (Mezzo-soprano)
the count Monterone (Baritone)
Sparafucile , a hired killer (Low)
Matteo Borsa , a courtier (Tenor)
the knight Marullo , a courtier (Baritone)
Gilda , girl of Rigoletto (Soprano)
Giovanna , its duenna (Mezzo-soprano)
Maddalena , sister of Sparafucile (Contralto)
courtiers, noble, pages, servants

Synopsis

Act 1

the First Table

The scene occurs in a big room from the palate where the Duke of Mantoue gives a ball. The Duke enters in scene in company of Borsa, one as of his courtiers: he makes him confidences about an young girl of a great beauty which he saw with the church ( Beyond mia bleated incognita borghese ). He discovered where it remains and by far, makes him the court; however, he is unaware of which it is and reciprocally.

Air: Questa O quella per me bet sound system (ballade of the Duke)

Borsa draws the attention of the Duke to a group of ladies, among which the countess Ceprano is ( Quante beltà… mirate ). The Duke approaches it, and its regret expresses to him that it leaves the Court to return in Ceprano. It offers its arm to him to renew it; the count Ceprano who, by far, noticed this horse-gear, is taken with part by Rigoletto, the buffoon of the Court, uneven and deformed, which it nargue of what it cannot prevent the Duke from courting his wife.

Rigoletto leaves. Between then Marullo, another courtier: he announces ( Gran nuova! ) that it has just discovered that the buffoon has a mistress ( Which mostro? Cupido? Cupido beato! ).

The Duke, follow-up of Rigoletto, return. It is in anger because of the presence of Ceprano which prevents any intrigue with the Countess. Rigoletto then suggests to him removing the latter and eliminating the count. Then he makes fun of the count and the Duke advises to him to be less impertinent. Borsa and other courtiers promise themselves, with Ceprano, to be avenged for the buffoon. Rigoletto fanfaronne with the reason that no one will not dare to carry the hand on him.

Suddenly, the Monterone old man makes irruption in the room: the Duke having allured his daughter, it comes, before all the court, to denounce manners of the Duke. Rigoletto, all claudicant, slip near the old man and turns it in derision ( Voi congiuraste contro noi, signore ). Not supporting the remarks of Monterone, the Duke makes it stop; Monterone launches a curse against Rigoletto then.

the Second Table

From night, Rigoletto returns at his place while reconsidering to the curse of Monterone ( Which vecchio maledivami ). At the time when it will cross the main door of its house, it is accosted by a hired killer, Sparafucile, which proposes its services to him. Although it does not need any for the moment, Rigoletto requires its name of him and where one can find it. Once the left assassin, the buffoon engages in a soliloquy during which it draws up a parallel between their respective professions, one having for weapon its language and the other living of its sword.

Air: Bet siamo! (monolog of Rigoletto)

He deplores his situation at the Court and expresses his hatred of the courtiers, who do not cease hating it and scorning it.

He opens his door and is accommodated by his Gilda daughter.

Air: Figlia… Me padre (duet Rigoletto and Gilda)

She asks him of him to speak about their family. It stops it and recommends to him never not to leave the house; it reassures it by saying that it only leaves to go to the church. As she insists that he speaks to him about his died mother, Rigoletto requires of him not to oblige it to remember its lost happiness. Gilda tries to persuade it to reveal to him something of its country, its family and her friends, but in vain.

Always suspicious, Rigoletto calls Giovanna, controlling it, and to him orders greatest vigilance ( Veglia, O gave, questo fiore ). He believes to hear somebody outside and leaves. Whereas the buffoon scans the lane, the Duke threads inside the court. Rigoletto returns and asks Giovanna if Gilda and itself are never followed when they go to the church. It ensures to him that not. It orders to him to lock the door always well. Reassured, he says goodbye to his daughter and from goes away, leaving the Duke amazed at what he has just discovered. Gilda tests remorse as for the fact of having hidden with his/her father that to the exit of the mass, an young man followed it, and she entrusts to Giovanna that she became in love about it.

The Duke leaves his hiding-place, fact signs in Giovanna to disappear and is thrown to the feet of Gilda. This one, surprised, calls for the aid but does not resist any more when the Duke sings his love tenderly to him.

Air: E it ground LED' animated (duetto Duc and Gilda)

He says being poor studied name of Gualtier Maldè but before he can speak more, Giovanna comes to announce that she intended to go in the lane. Gilda requires of him to make leave Duc.Avant to be left, they exchange burning words.

Remained only, Gilda dreams on the name of its beloved.

Air: Gualtier Maldè… Caro names (lovesong of Gilda)

Borsa, Ceprano and other courtiers, fascinating Gilda for the mistress of Rigoletto are on the point of carrying out their project of removal when Rigoletto comes towards them ( Zitti, zitti, moviamo has vendetta ). They make him believe that they are there to remove the woman of Ceprano and propose to him to assist them in their company by putting a mask to him; they then asks him to hold the scale. The buffoon believes that it is the darkness which prevents it from seeing there. Certain courtiers manage to remove Gilda which calls the Help!. Rigoletto, deafened by the stringcourse, does not hear this call. It tears off all the same its mask, street in the house and understands that Gilda was removed. It starts to accept the curse of Monterone.

Ah ! the maledizione

Act 2

The second act occurs in the living room from the Duke. This one is only and very affected by the removal of that which he likes.

Air: Ella semi fu rapita! … Among veder the lagrime (scene and air of the Duke)

The courtiers arrive who tell him what occurred.

Air: Duca! Duca! (scene and air of the courtiers)

The Duke expresses his joy that Gilda is found and it leaves to go to join it ( Possente amor semi chiama ). At this time, between Rigoletto. It knows that his/her daughter must be in the Palate, and, while pretending the indifference, it is put at its research. When he intends a page to answer that the Duke should not be disturbed, it starts to have suspicions; he then beseeches with the courtiers to return his daughter to him.

Air: Cortigiani, cheap razza dannata (air of Rigoletto)

Those are amazed to discover this relationship between the buffoon and Gilda.

Suddenly, a door opens and Gilda leaves while running the apartment the Duke. Rigoletto, very happy, the greenhouse in its arms, but, seeing it in tears, it is turned over furious against the courtiers and them enjoint to leave. Remained only with his/her father, Gilda tells all the adventure with the Duke as well as removal.

Air: Tutte feste Al tempio… (duet Rigoletto and Gilda)

Rigoletto tries to comfort it and promises to him that they will leave the court when Monterone passes which one leads in prison. This last stops in front of the portrait of the Duke to deplore that its curse remained without effect on the libertine. Rigoletto then decides to be avenged and promises to him that he will be avenged, in spite of the contrary request for Gilda.

Air: Sì, vendetta, tremenda vendetta! (Air of the revenge on Rigoletto)

Act 3

The scene does without night close to an inn dilapidated, on banks of Mincio, by one night of storm. Outside, Gilda still begs his/her father to save the Duke. Rigoletto leads it to a wall where, by a slit, one can see in the inn. There, it invites it to look at: by seeing its in love entering the inn and asking a room Sparafucile, it is horrified. The Duke orders wine and, cynical, proclaims the inconstancy of the women.

Air: gave It mobile E (song of the Duke)

During this time, Sparafucile, discreetly, leaves to say to Rigoletto which the Duke is there. Rigoletto retorts that it will return for all to regulate. The sister of Sparafucile, Maddalena, of which they were used for to attract the Duke in the inn, comes to find this one in the part where it is drinking. Gilda is then destroyed by discovering the inaccuracy of its beloved.

Air: a di Ben rammentomi… Was bleated figlia LED' amore (quartet)

Rigoletto wants to move away his/her daughter: he asks him to cover a male costume and to flee in Vérone. to

Air: V' Ho ingannato, colpevole fled (duet Gilda and Rigoletto)

He pays then an installment with Sparafucile, while promising to give him the balance when Sparafucile gives the corpse of the Duke to him. The assassin regains the inn then.

Maddalena, which finds the Duke beautiful, starts to regret the project of Sparafucile. To most extremely from the storm, Gilda returns, disguised as a man and approaches the inn: she intends Maddalena to ask her brother to save the beautiful unknown. Sparafucile accepts a compromise: in the place, it will kill the first nobody who will present himself to the inn before midnight. With these words, Gilda decides to be sacrificed for that which she always likes in spite of her inaccuracy. It strikes with the inn and request to enter. When Maddalena opens to him, a terrible clap of thunder resounds, covering the cries of unhappy at the time when the assassin striking.

The storm calms down little by little. A clock strikes midnight. Rigoletto returns to seek the corpse of the Duke. It knocks on the door. Sparafucile leaves while trailing a bag. The buffoon tightens a purse to him. Remained only, Rigoletto trails the bag towards the edge of water, when he intends the voice of the Duke suddenly to sing with far " gave It mobile E ". Trembling, it tears the bag, and, horrified, finds there his daughter dying. Eperdu of pain, it takes it in its arms: both sing tearing good-byes then. At the time when it expires, it includes/understands whereas the maledizione (curse) of Montérone was carried out.

Ah ! the maledizione

Orchestration

The partition envisages the use of: 1 piccolo, 2 flutes, 2 Oboe, 1 Cor anglais, 2 Clarinet S, 2 Bassoon S, 4 horns, 2 Trumpet S, 3 Trombone S, 1 bass trombone, drinking cups, Large case, bell S, cords. Incidental music: bandaged and string orchestra. Slide: gross caisse

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