Teatro Regio, Friday 18 January 2008 - Sunday 3 February 2008

with the support of Fondazione CRT


152 pages
37 illustrations
16 plates
price 8,00 €
price with the carnet 5,50 €


Ah! La maledizione!

by Paolo Gallarati

The evening of 11 March 1851 Rigoletto was performed with tremendous success at the Teatro La Fenice in Venice. It was the fifteenth score by Verdi and marked the practically definitive success of a dramaturgy so organic in the balance of the literary, musical and theatrical components that it pushed the characters and situations to an unprecedented degree of expressive power. The argument had favoured this maturation and Verdi was perfectly aware of it…

A total theatre

by Gilles de Van

In the double fortune of Le Roi s’amuse by Victor Hugo and Verdi’s Rigoletto there is a paradox: we know that the play by the French writer was prohibited from the very first performance on 22 November 1832. In spite of a few timid attempts […] the second was given on 22 November 1882 […] but was not a great success. A few performances followed […] and then nothing more until a recent revival at the Comédie Française at the end of 1991. As for the lasting and permanent success of Rigoletto, it is so obvious as to make any enumeration pointless…

A portrait

by Elisabetta Fava

Giuseppe Verdi was born into a lower middle class family in 1813, whose reasonable economic conditions came from the good management of a modest inn in the tiny native village, the hamlet of Roncole di Busseto, where the organist was also priest, teacher and factotum of the local culture.
Convinced of the musical talent of the young boy in the Verdi home, it was Don Baistrocchi himself who first introduced him to the rudiments of organ playing …

Return from the past
The Rigoletto of Galeffi, from story to legend

by Valeria Pregliasco e Giorgio Rampone

In the history of grand opera in Torino (but elsewhere as well), if we want to equate the protagonist of Rigoletto with a single baritone, it is certain that it can be no other than Carlo Galeffi. Regardless of the fundamental qualitative values, the numbers themselves speak out in his favour. Indeed it is a sort of record to have taken part in something like ten editions of Verdi’s opera in the same city, over a period of thirty years...

Books, recordings and the web

by Sergio Bestente

For an accurate and updated treatment of the genesis and sources of Rigoletto, we refer you to the Introduction to the critical edition of the score, published in 1983 by the American musicologist Martin Chusid […]. The greatest difficulty one has to face when using Internet to look for information and in-depth studies on the life and art of Giuseppe Verdi is without question getting oriented…

(L’argomento, L’Argument, Die Handlung)

The structure of the opera and the instrumental layout

by Enrico M. Ferrando

Rigoletto preserves the ‘number’ structure and the arrangement in operatic moments (the real musical pieces) and in connective segments having the function of narrative development that the Italian romantic melodrama had inherited from eighteenth-century opera seria…