★★★★
Review: Welsh National Opera's Rigoletto, directed by Adele Thomas. Viewed at Oxford's New Theatre on Thursday 24 October. On tour throughout the UK until 16 November
[Disclosure: Our reviewer received free tickets, free drinks and a free programme for the purposes of this review.]
Verdi’s Rigoletto is part of the Welsh National Opera’s 2024/2025 touring season. It came to Oxford last night and it was wonderful. Set in the Italian city of Mantua, the story follows a hunchbacked court jester, Rigoletto, and his daughter, Gilda. Rigoletto attempts to protect Gilda from the lecherous Duke of Mantua, leading to a tragic cycle of vengeance and loss. Rigoletto was premiered to a sell-out crowd at Venice’s La Fenice opera house on March 11, 1851 – and has been performed pretty much continuously ever since.
Based on Victor Hugo’s Le roi s'amuse, Rigoletto weaves themes of power, corruption, and sacrifice with character driven music, including the famous aria “La donna è mobile.”
This production by the Welsh National Opera’s production is sumptuous. It emphasises the decadent and corrupt atmosphere of the Duke of Mantua’s court with the chorus revelling in scenes that looks like one continuous orgy. Lavishly dressed in period costumes and performing with exuberant excess, the chorus singers look as though they are having the time of their lives.
The part of Rigoletto is played beautifully by Spanish American baritone Daniel Luis De Vincente – who has completely mastered the tragic, tortured clown persona. Rigoletto’s daughter, Gilda, is played by Soraya Mafi. Mafi’s voice is utterly heavenly. While her portrayal of Gilda as a slightly awkward naïf is not my favourite – it’s still a perfectly valid interpretation and she does it very well. The Duke was played by the highly respected Italian tenor Raffaele Abete. There is no doubt that Abete is a world class singer – however, I did feel that his voice didn’t seem to carry as well as the other singers, and he did seem to lose steam toward the end of the production.
As always, the production values were outstanding. Although the sets, with their 70s public swimming pool vibe were slightly jarring for me, they were still extremely beautiful designed, and quite effective in creating atmosphere.
The orchestra was in particularly fine form last night with a very nuanced performance including some truly spectacular solos. During Rigoletto’s aria "Cortigiani, vil razza dannata" ("Courtiers, vile damned race") in Act II, the cello solo, accompanying Rigolettos’ anguish, was utterly gorgeous.
Instead of their typical black attire, the entire orchestra all wore their “Save the WNO” t-shirts. At the end of the production a member of the orchestra took to the stage and explained that the recent funding cuts to the Welsh National Opera by the Arts Councils of England and of Wales means that the Welsh National Opera will no longer be able to be a full- time company.
This is shocking news. The Welsh National Opera is an important part of the UK’s cultural heritage – bringing world class opera productions to many places that would otherwise not have access to opera. Even in Oxford, a city steeped in cultural offerings, Welsh National Opera’s annual tour stands out as the only source of fully staged, world class opera productions.
It would be a tragedy for this country if the Welsh National Opera was hollowed out by these cuts. Even from an economic perspective it doesn’t make sense. There is enough research to show that engaging with culture and the arts boosts mental health and well-being, often reducing reliance on public services - as well as being a powerful economic driver in itself. One only need look to South Korea to see that heavy investment in culture and its export has generated extraordinary economic growth. If, like me, you don’t want to the UK to lose one its cultural jewels, please consider signing the petition here, oh, and buy a ticket to this fabulous opera.
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