Stunning season start as Opera Australia revives Verdi masterpiece Rigoletto

Opera Australia’s immensely enjoyable revival of Elijah Moshinsky’s vision of Rigoletto is on now.

Ernesto Petti as Rigoletto in Opera Australia’s production of Verdi’s masterpiece. Picture: Keith Saunders

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Typically, Verdi’s conflicted clown is an older man, embittered and with a savage wit born of a lifetime’s weary contempt for his betters — all of which makes the casting of a young Italian baritone in the role surprising.

Ernest PettI was born in Salerno in 1986, which makes him 37 or thereabouts, and what an inspired choice he turns out to be in this immensely enjoyable revival of Elijah Moshinsky’s vision of Rigoletto.

Petti’s is a towering voice, with a strong stage presence and an intelligent feel for the nuances of the jester’s struggle to protect his angelic daughter in a world of corruption and unbridled lust.

It’s not uncommon these days for opera singers to perform beyond the vocal barriers once the domain of specialists; a tenor now may sing as a baritone, a baritone as bass, or a soprano as mezzo. Petti, who started his career as a tenor, demonstrated his virtuosity in this, his debut role for Opera Australia, with a convincing baritone delivered with easy confidence and rich colour.

Stacey Alleaume reprised her role as Gilda, seen here in the 2019 production. Picture: Jeff Busby

The ever-reliable Stacey Alleaume, as Rigoletto’s daughter Gilda, once again displayed that awesome mixture of stellar top notes, clear expression and natural warmth that has made her one of OA’s favourite sopranos.

This Australian-Mauritian performer, who made such a big impact as Violetta in La Traviata last year, was in top form on opening night.

Brazilian Atalla Ayan made a slightly hesitant start as the lecherous Duke of Mantua, with some signs of vocal strain, but soon settled in to deliver a robust tenor.

The role of the assassin Sparafucile gives many a bass a chance to excel and the towering Roberto Scandiuzzzi’s sonorous voice took full advantage of the opportunity.

Mezzo-soprano Sian Sharp provided strong support as Maddalena, sister of Sparafucile, as did baritone Luke Gabbedy, as Marulla, a key member of the count’s court.

The revolving stage, with sections offering views of Rigoletto’s dressing room, the count’s plush ballroom, Rigoletto’s home and Sparafucile’s seedy inn, was effective, hugely minimising the time usually spent on shuffling the props, what old-time music halls called the impedimenta of illusion.

Renato Palumbo proved an energetic and disciplined conductor with an immaculate sense of timing and the chorus was in top form.

A great way to open the opera season: an exciting young baritone with outstanding support and, perhaps best of all, Verdi’s soaring choruses.

DETAILS

• OPERA Rigoletto

• STARS Ernesto Petti, Atalla Ayan, Stacey Alleaume, Roberto Scandiuzzi

• AT Sydney Opera House

• UNTIL: June 26

• BOOKINGS 9250 7777 or [e-mail]