Seattle Opera presents Verdi's masterpiece, "Rigoletto," in 2019.  
Verdi’s tense and brutal tale of a web of lechery, betrayal, and revenge runs the emotional gamut in true operatic fashion. Hugely popular ever since its Venice premiere, the indelible melodrama boasts memorably complex characters and an action-packed plot propelled by a parade of iconic, unflaggingly brilliant tunes. For more information, go to seattleopera.org/rigoletto.

RIGOLETTO

Nadine Sierra sings Gilda in Seattle Opera’s “Rigoletto.” In this passage, she tries to explain to her father what happened with the handsome young man she knew from church: “Last night he came to me, alone in the shadows...he said he was a poor student. He spoke with such passion, and he said he loved me. He left, and my heart opened to a world of hope. And then the men came, they carried me off, they brought me here by force. I was terrified!” Riccardo Frizza conducts the orchestra of Seattle Opera.
Elise Bakketun, photo

RIGOLETTO: NADINE SIERRA as Gilda

In the famous “Rigoletto” quartet the voices of Liparit Avetisyan (the Duke), Emily Fons (Maddalena), Madison Leonard (Gilda), and Lester Lynch (Rigoletto) come together in one of opera’s greatest ensembles. The Duke woos Maddalena, who laughs at him; unseen by them, his ex-lover, Gilda, wails and her father, Rigoletto, mutters words of vengeance. Carlo Montanaro conducts the orchestra of Seattle Opera. Photo by Sunny Martini.
Elise Bakketun, photo

RIGOLETTO Quartet

The voices of Emily Fons (Maddalena), Ante Jerkunica (Sparafucile), and Soraya Mafi (Gilda) team up in this trio from the final scene of “Rigoletto.” Gilda decides to sacrifice her life so her beloved Duke can live, while Maddalena and Sparafucile prepare to kill her. The girl begs her father to forgive her, and prays to God to forgive her murderers, then enters the run-down inn. All hell then breaks loose as the orchestra plays the most violent storm music in all Verdi. Carlo Montanaro conducts the chorus and orchestra of Seattle Opera. Photo by Sunny Martini.

RIGOLETTO: Storm Scene

In Act 2 of Gian Carlo Menotti’s “The Consul,” the magician Nika Magadoff (Alex Mansoori) hypnotizes everyone in the consulate and makes them dance: 
Oh, what a lovely ballroom this is...
the floor shines with precious marble.
Look how the light falls bright and clear 
from twenty crystal chandeliers.
Look at the crimson walls, hung with golden mirrors. 
Ah, listen:  the music has begun.
Ah! How you'd love to dance with your loved one...
But where is he? But where is she?
There, there he is!  He's bowing to you.
Look, there she is...bow to her.
What are you waiting for?
The floor is empty, the music sweet...
the dance is on.
Carlo Montanaro conducts the orchestra of Seattle Opera. Elise Bakketun, photo
Seattle Opera, The Consul, Menotti, Carlo Montanaro, Alex Mansoori


THE CONSUL: ALEX MANSOORI as Nika Magadoff

In Act Two of Gilbert & Sullivan’s THE PIRATES OF PENZANCE the pirates plan to storm Major-General Stanley’s house in the middle of the night, unaware that a crowd of policemen, relentlessly imitating trumpets to embolden themselves, are waiting to ambush and arrest them. After failing to be as quiet as they claim, the pirates sing one of Sullivan’s most beloved tunes—actually, Sullivan’s copyright piracy of Verdi’s “Anvil Chorus” from IL TROVATORE. Francesco Milioto conducted the chorus & orchestra of The Atlanta Opera in Atlanta in 2021. Music provided by The Atlanta Opera Film Studio.

PIRATES: With cat-like tread,
Upon our prey we steal; 
In silence dread,
Our cautious way we feel.
No sound at all,
We never speak a word, 
A fly’s foot-fall
Would be distinctly heard.
POLICE: (Tarantara, tarantara!)
PIRATES: So stealthily the pirate creeps,
While all the household soundly sleeps. 
Come, friends, who plough the sea,
Truce to navigation; 
Take another station;
Let’s vary piracee 
With a little burglaree!

PIRATES: “With cat-like tread”

Join me as I sit down with Emily Cabiness, librarian and archivist for the Seattle Opera. We discuss the art of opera, through both process and product. How does it stay relevant in contemporary life? What kind of collaborative work does it take to put on a production? What does a librarian do for an opera company? How does music help us express the otherwise ineffable? 

A funny, engaging, and emotional chat with a good friend of the show.

(Disclaimer: Emily participated in this discussion outside of her official duties with the Seattle Opera. As such, all of her opinions are her own, and do not necessarily reflect the views of the Seattle Opera or any affiliated staff or artists!)

For more information about the Seattle Opera, including upcoming shows and events, visit https://www.seattleopera.org/ 

For those interested in listening to Emily’s scene selections further, please see the recorded versions below:

Mozart’s The Marriage of Figaro - “Pace Pace Mio Dolce Tesoro” - https://open.spotify.com/track/3EQrqvdRO7VMWSPKSlCdSe

Wager’s The Valkyrie - “War Es So Schmählich”
https://open.spotify.com/track/68CZHU1J4F89quxGwQOQGn

All clips and music used under Creative Commons and Fair Use policies.

Ping: Opera With Emily

American baritone Lester Lynch has several Seattle Opera credits to his name; but now he returns in one of his favorite roles, the nasty clown and loving father caught in an impossible nightmare of corruption and tragedy. In the arioso “Deh, non parlare al misero” he tells his daughter about her mother, who loved him despite his poverty and deformity and who died. Carlo Montanaro conducts the orchestra of Seattle Opera. Photo by Philip Newton.

LESTER LYNCH as Rigoletto

British soprano Soraya Mafi, a native of Manchester, returns to Seattle for her role debut as Gilda. In her famous aria “Caro nome,” this naïve, sheltered girl dreams about the name of the boy she likes as she prepares for bed. Carlo Montanaro conducts the orchestra of Seattle Opera. Photo by Sunny Martini.

SORAYA MAFI as Gilda

Tenor Yongzhao Yu, who hails from Shanghai, China, makes his Seattle Opera debut as that seductive but faithless playboy, the Duke of Mantua in RIGOLETTO. In this familiar tune he decorates the words “Woman is fickle, like a feather in the wind” with a melody illustrating that very feather blown about in the wind. Carlo Montanaro conducts the orchestra of Seattle Opera. Photo by Sunny Martini.

YONGZHAO YU as the Duke of Mantua

Founded in 1963, Seattle Opera is a leading American opera company. The company presents the classics of the European repertoire as well as new works of American opera. Frequent productions of Wagner's RING, beginning in 1975, established the company's worldwide reputation. Seattle Opera usually presents five opera productions each year.

RIGOLETTO: NADINE SIERRA as Gilda

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