This 1982 production is one of the better known films of Verdi's operatic masterpiece, if only because it stars famous tenor Luciano Pavarotti. As it turns out, it's not a great introduction to the opera, but for those familiar with the story, it certainly provides an interesting (if not always effective interpretation). The story, derived from Victor Hugo's Le roi s'amuse, deals with a curse placed on the Duke of Mantua and his deformed jester Rigoletto by the Count of Monterone, after the bitter Rigoletto encourages the rakish Duke to "dishonor" the Count's daughter. Unbeknownst to Rigoletto, his innocent daughter (whom he hides from the world) is also falling prey to the Duke's seductive wiles. After his daughter is deflowered, Rigoletto pays an assassin to kill the Duke, but his lovesick daughter sacrifices herself to save him.
In the hands of performers like Tito Gobbi (truly the definitive interpreter of the title role) and Maria Callas, Rigoletto is a moving, beautiful experience. Given a classical interpretation, the misguided romance, the hatred, and tragedy of the opera really hit hard, especially during the most famous pieces. Under the guidance of director Ponnelle, however, Rigoletto is transformed from a classic tragedy into a truly grotesque, often cringe-inducing parade of horrors and humiliations, comparable to Ingmar Bergman's Sawdust and Tinsel. "Caro nome," a famous aria in which Rigoletto's daughter pines after her new love, becomes painful to listen to as the viewer reflects on the fact that she is swooning over a name that the Duke, pretending to be a poor student, clearly made up on the spot. Later the courtiers abduct Rigoletto's daughter as revenge for his cruel jokes, believing her to be his mistress. She is then given over to the Duke, who...does what he does best. When the enraged Rigoletto reveals her identity, most productions depict the courtiers as being shocked, and perhaps even somewhat remorseful. In Ponnelle's film they find this revelation hysterical, and continue to mock Rigoletto even after he begs for their forgiveness. While this makes for compelling (if deeply unpleasant) viewing, it's too campy and grotesque to really function as a moving tragedy, and some of the opera's thrilling highlights, such as "Cortigiani, vil razza dannata" and "Si, vendetta" are strangely flat and uninvolving.
Mostly, though, I feel the success or failure of an opera depends on its singers, and in that respect the film proves satisfactory. Ingvar Wexell is a fine Rigoletto, though his voice sounds kind of weird and not entirely pleasing to the ear. He's at his best during the character's more sardonic moments, but he fails to thrill during his most dramatic sections. Edita Gruberova does a respectable if unexceptional job as Gilda, Rigoletto's daughter. The standout for me, however, was Luciano Pavarotti as the Duke of Mantua. Pavarotti is justifiably celebrated for his singing voice, but he's generally a very poor actor, and his stiff, awkward presence has handicapped several productions. Here, however, he seems very at home, portraying the Duke with the perfect amount of swagger and boyish charm. Despite being far from the physical ideal for the young, handsome Duke, Pavarotti makes it work through sheer charisma. He plays the Duke as a naughty child, delighting in his mischievous plots while being totally oblivious to the pain he's causing. Ferruccio Furlanetto is likewise an ideal Sparafucile, conveying the proper mixture of sarcasm, greed, and professional ethics.
If the film doesn't entirely work as a tragedy, it's still worth watching for these fine performers, and for Ponnelle's flawless staging/direction of the opera's famous quartet. It's just a shame that he bungles the tragic ending by filming it largely in a static wide shot.
In the hands of performers like Tito Gobbi (truly the definitive interpreter of the title role) and Maria Callas, Rigoletto is a moving, beautiful experience. Given a classical interpretation, the misguided romance, the hatred, and tragedy of the opera really hit hard, especially during the most famous pieces. Under the guidance of director Ponnelle, however, Rigoletto is transformed from a classic tragedy into a truly grotesque, often cringe-inducing parade of horrors and humiliations, comparable to Ingmar Bergman's Sawdust and Tinsel. "Caro nome," a famous aria in which Rigoletto's daughter pines after her new love, becomes painful to listen to as the viewer reflects on the fact that she is swooning over a name that the Duke, pretending to be a poor student, clearly made up on the spot. Later the courtiers abduct Rigoletto's daughter as revenge for his cruel jokes, believing her to be his mistress. She is then given over to the Duke, who...does what he does best. When the enraged Rigoletto reveals her identity, most productions depict the courtiers as being shocked, and perhaps even somewhat remorseful. In Ponnelle's film they find this revelation hysterical, and continue to mock Rigoletto even after he begs for their forgiveness. While this makes for compelling (if deeply unpleasant) viewing, it's too campy and grotesque to really function as a moving tragedy, and some of the opera's thrilling highlights, such as "Cortigiani, vil razza dannata" and "Si, vendetta" are strangely flat and uninvolving.
Mostly, though, I feel the success or failure of an opera depends on its singers, and in that respect the film proves satisfactory. Ingvar Wexell is a fine Rigoletto, though his voice sounds kind of weird and not entirely pleasing to the ear. He's at his best during the character's more sardonic moments, but he fails to thrill during his most dramatic sections. Edita Gruberova does a respectable if unexceptional job as Gilda, Rigoletto's daughter. The standout for me, however, was Luciano Pavarotti as the Duke of Mantua. Pavarotti is justifiably celebrated for his singing voice, but he's generally a very poor actor, and his stiff, awkward presence has handicapped several productions. Here, however, he seems very at home, portraying the Duke with the perfect amount of swagger and boyish charm. Despite being far from the physical ideal for the young, handsome Duke, Pavarotti makes it work through sheer charisma. He plays the Duke as a naughty child, delighting in his mischievous plots while being totally oblivious to the pain he's causing. Ferruccio Furlanetto is likewise an ideal Sparafucile, conveying the proper mixture of sarcasm, greed, and professional ethics.
If the film doesn't entirely work as a tragedy, it's still worth watching for these fine performers, and for Ponnelle's flawless staging/direction of the opera's famous quartet. It's just a shame that he bungles the tragic ending by filming it largely in a static wide shot.