Place—Mantua.
"Rigoletto" is a distinguished opera. Composed in forty days in 1851, nearing three-quarters of a century of life before the footlights, it still retains its vitality. Twenty years, with all they imply in experience and artistic growth, lie between "Rigoletto" and "Aïda." Yet the earlier opera, composed so rapidly as to constitute a tour de force of musical creation, seems destined to remain a close second in popularity to the more mature work of its great composer.
There are several reasons for the public's abiding interest in "Rigoletto." It is based upon a most effective play by Victor Hugo, "Le Roi s'Amuse," known to English playgoers in Tom Taylor's adaptation as "The Fool's Revenge." The jester was one of Edwin Booth's great rôles. This rôle of the deformed court jester, Rigoletto, the hunchback, not only figures in the opera, but has been vividly characterized by Verdi in his music. It is a vital, centralizing force in the opera, concentrating and holding attention, a character creation that appeals strongly both to the singer who enacts it and to the audience who sees and hears it. The rôle has appealed to famous artists. Ronconi (who taught singing in New York for a few years, beginning in 1867) was a notable Rigoletto; so was Galassi, whose intensely dramatic performance still is vividly recalled by the older opera-goers; Renaud at the Manhattan Opera House, Titta Ruffo at the Metropolitan Opera House, Philadelphia, both made their American débuts as Rigoletto.
But the opera offers other rôles of distinction. Mario was a famous Duke in other days. Caruso made his sensational début at the Metropolitan in the character of the volatile Duca di Mantua, November 23, 1903. We have had as Gilda Adelina Patti, Melba, and Tetrazzini, to mention but a few; and the heroine of the opera is one of the rôles of Galli-Curci, who appeared in it in Chicago, November 18, 1916. No coloratura soprano can, so to speak, afford to be without it.
Thus the opera has plot, a central character of vital dramatic importance, and at least two other characters of strong interest. But there is even more to be said in its behalf. For, next to the sextet in "Lucia," the quartet in the last act of "Rigoletto" is the finest piece of concerted music in Italian opera—and many people will object to my placing it only "next" to that other famous ensemble, instead of on complete equality with, or even ahead of it.
The "argument" of "Rigoletto" deals with the amatory escapades of the Duke of Mantua. In these he is aided by Rigoletto, his jester, a hunchback. Rigoletto, both by his caustic wit and unscrupulous conduct, has made many enemies at court. Count Monterone, who comes to the court to demand the restoration of his daughter, who has been dishonoured by the Duke, is met by the jester with laughter and derision. The Count curses Rigoletto, who is stricken with superstitious terror.
For Rigoletto has a daughter, Gilda, whom he keeps in strict seclusion. But the Duke, without being aware who she is, has seen her, unknown to her father, and fallen in love with her. Count Ceprano, who many times has suffered under Rigoletto's biting tongue, knowing that she is in some way connected with the jester, in fact believing her to be his mistress, and glad of any opportunity of doing him an injury, forms a plan to carry off the young girl, and so arranges it that Rigoletto unwittingly assists in her abduction. When he finds that it is his own daughter whom he has aided to place in the power of the Duke, he determines to murder his master, and engages Sparafucile, a bravo, to do so. This man has a sister, Maddalena, who entices the Duke to a lonely inn. She becomes fascinated with him, however, and begs her brother to spare his life. This he consents to do if before midnight any one shall arrive at the inn whom he can kill and pass off as the murdered Duke. Rigoletto, who has recovered his daughter, brings her to the inn so that, by being a witness of the Duke's inconstancy, she may be cured of her unhappy love. She overhears the plot to murder her lover, and Sparafucile's promise to his sister. Determined to save the Duke, she knocks for admittance, and is stabbed on entering. Rigoletto comes at the appointed time for the body. Sparafucile brings it out in a sack. The jester is about to throw it into the water, sack and all, when he hears the Duke singing. He tears open the sack, only to find his own daughter, at the point of death.
Act I opens in a salon in the Duke's palace. A suite of other apartments is seen extending into the background. All are brilliantly lighted for the fête that is in progress. Courtiers and ladies are moving about in all directions. Pages are passing to and fro. From an adjoining salon music is heard and bursts of merriment.
