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| Rigoletto by Austin Lyric Opera |
| Written by Dante Dominick | |
 Photo: Mark Matson One of opera’s little secrets is that it pre-dated MTV as a window to the life of the promiscuous high-roller. Take Giuseppe Verdi’s Rigoletto for example. In the opening scene, a womanizing Duke—who apparently attends church to scope out his next score—sings of his insatiable lust for women. And we have his sidekick hunchback—apparently a 19th century precursor to the modern comedic fascination with midgets—making a mockery of the women the Duke has deflowered. In some cities, and in some circles, such a crude depiction of one of opera’s most treasured works would likely be jeered and wholly dismissed as the misguided rambling of an amateur (which, admittedly, it is). But Kevin Patterson, the energetic general director of Austin Lyric Opera, delights in such untraditional approaches from a new opera audience. “I don’t want this to be a white, elitist art form; I want this to be the community’s opera company,” Patterson explains, inviting all to come to the Long Center in their jeans and comfy shoes. This will be the ALO’s third production of Rigoletto in its 22-year history and, somewhat ironically given Patterson’s expanding approach, the most traditional of all three. The elegant sets and costumes transport the audience to 1500s Italy. The principal artists include baritone Todd Thomas (as Rigoletto), soprano Lyubov Petrova (Gilda, a role she recently sang for the Washington National Opera), tenor Chad Shelton (Duke of Mantua), bass Peter Volpe (Sparafucile), mezzo-soprano Kirsten Gunlogson (Maddalena), and Kyle Albertson (Count Monterone). Two of opera’s most famous arias (you can easily hum along to “La Donna e Mobile” even if you’ve never been to an opera) are sung by the Duke, a fact that made Kevin Patterson’s heart skip, not one, but two beats when he received a phone call three days before rehearsals were to begin explaining that his Duke would be unable to sing due to illness. Now, for those unversed in the rigors of singing opera, it can take up to a year for an opera singer to train their voice for a particular role (you try singing over a 70-piece orchestra with no microphone, in a foreign language). As such, most professional opera singers have their schedules and roles planned at least a year in advance. So, finding a replacement for a starring role in a major production in three days…well, that’s not an opera thing to do.  Photo: Mark Matson On that first day of rehearsals three days later, Conductor Richard Buckley called upon Shelton first, propelling the production’s newfound tenor to show how far he had gotten with the role. Watching the activity, a relieved smile curled its way up Patterson's face. Asked if the turn of events could possibly be a blessing, he replied, “oh yes. We’re very pleased with our Duke.” Austin Lyric Opera presents Verdi'sRigoletto at the Long Center for Performing Arts on January 31 and February 4, 6, 8. Tickets range from $30-$185 and are available online here, or by calling 512.472.5992. The opera is sung in Italian with English supertitles projected above the stage. ALO will conclude its 22nd season with Dialogue of the Carmelites in April. |
