Quinn Kelsey was astonishing in the title role, giving a powerful performance that drew out the complexities of the character. I tend to judge a performance by the ENO by my need to look at the surtitles: in his case there was no need as every word was beautifully, clearly sung. The direction by Christopher Alden followed the same principle as in his version of A Midsummer Night’s Dream – take a single set relevant to the world in which the opera was written, rather than its nominal setting, and play everything against that one background. For A Midsummer Night’s Dream, he used the outside of Britten’s school: half the audience booed on the first night; the other half cheered, including me. This time he used a Victorian gentleman’s club: no-one booed; no-one cheered, including me. There was plenty of polite applause but I’d rather be in a production that gets booed and cheered than one that just gets applauded. I saw A Midsummer Night’s Dream twice in a week as I loved it so much. I’m not sure I’ll bother to see Rigoletto again in any production. I’m still not a fan of Italian opera, but it was fun and I am glad I have seen it this once.
Review: Rigoletto, English National Opera
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