By Bridget Davies
Amartuvshin Enkhbat as Rigoletto and Liparit Avetisyan as Duke of Mantua.Credit: Jeff Busby
OPERA
Rigoletto ★★★★
Opera Australia, State Theatre, until May 29
There was booing, shouting and jeering – eventually the police were called. A Saturday night in Melbourne, not at the MCG, but at the opera!
Opening night of Opera Australia’s Rigoletto threatened to be upstaged by a disgruntled composer who brought a megaphone into the auditorium and attempted to protest against the company for not having performed his work.
Liparit Avetisyan as Duke of Mantua.Credit: Jeff Busby
The 90-year-old man couldn’t be removed by Arts Centre staff and eventually Victoria Police arrived, escorting him from the theatre. Twenty minutes and a little more controversy than we bargained for later, Act I began.
Thankfully, it was not to be the most lasting impression of the night. OA took a risk in casting an extremely young duo for its male leads: Mongolian baritone Amartuvshin Enkhbat (Rigoletto) is 33 and Armenian tenor Liparit Avetisyan (the Duke) only 28.
Astonishing debut: Amartuvshin Enkhbat, pictured here with Stacey Alleaume as Gilda.Credit: Jeff Busby
These roles are regularly performed by singers in their 40s or 50s, but the old adage about it being just a number has never rung truer.
In an astonishing Australian debut, Enkhbat managed the most difficult repertoire with effortless ease; his Act II and III portrayal of a father full of anger, pain, grief and heartbreak was world-class.
With rousing high notes and suitable sleazy charm, Avetisyan's Duke was excellent, making the most of his famous aria La donna e mobile and the character's more tender moments in Act II.
Sian Sharp as Maddalena and Liparit Avetisyan as Duke of Mantua.Credit: Jeff Busby
Act I as a whole suffered some teething problems – the orchestra overpowered the singers and a few stray notes flew out of the pit.
Stacey Alleaume’s Gilda improved as the night progressed; the top of her show-stopping aria Caro Nome felt uncomfortable, but opposite Enkhbat in Act II her exquisite, lyrical middle voice shone through.
This is a vintage production – or “much-loved”, as the company likes to call it – but youth has reinvigorated the old faithful.
It’s accessible, not-taking-itself-too-seriously opera at its emotional, enjoyable best.
Let's just hope the drama is restricted to that of Verdi's genius for the rest of the season.