Rigoletto

“ Yet, even in spite of this knowledge, the poor girl loved him still; and when Rigoletto swore vengeance on the false betrayer, she entreated him to spare her lover, whom she had already forgiven for the wrong he had done her.
But Rigoletto's anger against his royal master was [344] so furious that nothing but death would satisfy his longing for revenge; and quickly sending for Sparafucile, the bravo, he bargained with him for a sum of gold to entice the Duke to his lonely inn and murder him there. ”

“ That same night, when the weary dancing was over, and the duke no more required his fool, Rigoletto stole out, and went quickly to an obscure part of the city, to a high thick wall, in which was a small retiring door.
He had almost reached it, his head drooping at the thought of the terrible curse, when a ruffianly man jostled him. “Who are you? Go; I need you not.{141}”
“Signor, I am a man who has a dagger at your service, ready at a word!”
“You are a thief.”
“No; but a man who for money will rid you of your rival. You have a rival.” ”

“ We have never been the champions nor the detractors of Verdi, and we recognise in Rigoletto a higher order of beauty than struck us even in Ernani and the Due Foscari, and an abandonment, at the same time, of his most palpable defects. ”

“ The music of 'Il Trovatore' shows a sad falling off from the promise of 'Rigoletto.' Face to face with such a libretto, Verdi probably felt that refinement and characterisation were equally out of the question, and fell back on the coarseness of his earlier style. 'Il Trovatore' abounds with magnificent tunes, but they are slung together with very little feeling for appropriateness. There is a brutal energy about the work which has been its salvation, for of the higher qualities, which make a fitful appearance in 'Rigoletto,' there is hardly a trace. ”

“ 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. ”

“ This music floats on air. It gives at once the cue to the Duke's character. Like Don Giovanni he is indifferent to fate, flits from one affair to another, and is found as fascinating as he is dangerous by all women, of whatever degree, upon whom he confers his doubtful favours.
Rigoletto, hunchbacked but agile, sidles in. He is in cap and bells, and carries the jester's bauble. The immediate object of his satire is Count Ceprano, who is watching his wife, as she is being led off on the Duke's arm. Rigoletto then goes out looking for other victims. Marullo joins the nobles. ”

“ She comes to the inn in masculine attire, and hearing the discourse between Sparafucile and his sister, resolves to save her lover. She enters the inn and is instantly put to death, placed in a sack and given to Rigoletto, who proceeds to the river to dispose of the corpse. At this instant he hears the voice of the Duke, who passes by, singing a frivolous tune. Terrified, Rigoletto opens the sack, and recognizes his daughter, who is yet able to tell him, that she gave her life for that of her seducer and then expires. ”

“ Let us see if Gilda will continue to love him when she knows the true wickedness of the wretch! when she knows that he is false to all that he has said to her: because there is of course another woman in the case!" While Rigoletto was observing him, the wine was brought to the Duke, who raised his sword and rapped upon the ceiling with its hilt. At that signal a pretty girl ran down the ladder and Mantua embraced her.
That freed Sparafucile and he ran out of the inn to look for Rigoletto, whose coming was expected. ”

“ As the door swings out, the Duke, for it is he, in the guise of a student, whose stealthy footsteps have been heard by the jester, conceals himself behind it, then slips into the courtyard, tosses a purse to Giovanna, and hides in the shadow of the tree. Rigoletto reappears for a brief moment to say good-bye to Gilda and once more to warn Giovanna to guard her carefully.
When he has gone Gilda worries because fear drove her to refrain from revealing to her father that a handsome youth has several times followed her from church. This youth's image is installed in her heart. ”

“ The king was changed into a duke of Mantua, the title into 'Rigoletto,' and all the curses were made to wreak their fury on the head of the insignificant duke of a petty town. Verdi accepted the alterations, and after receiving the complete libretto, went to Busseto and set furiously to work. And his inspiration served him so well that in forty days he was back at Venice with Rigoletto ready, and its production took place on March 11, 1851. This was as great and genuine a success as was ever achieved by any operatic composer ”

“ The second is the great quartet in the third scene between the Duke, Gilda, Magdalena, and Rigoletto ("Bella figlia dell' amore") , which stands out as an inspiration in comparison with the rest of the opera, fine as its music is. The story itself is almost too repulsive for stage representation; but in beauty, freshness, originality, and dramatic expression the music of "Rigoletto" is Verdi's best; and in all this music the quartet is the masterpiece. ”

“ To better illustrate the false art which mars so much of Verdi's dramatic method, a comparison between his "Rigoletto," so often claimed as his best work, and Rossini's "Otello" will be opportune. The air sung by Gilda in the "Rigoletto," when she retires to sleep on the eve of the outrage, is an empty, sentimental yawn; and in the quartet of the last act, a noble dramatic opportunity, she ejects a chain of disconnected, unmusical sobs, as offensive as Violetta's consumptive cough. ”

“ Looking through the crevice, she saw the girl coming down with the sword glittering in her hand.
“Do not kill him—do not kill him,” cried the gipsey girl.
“Kill him!” cried the fool’s daughter.
There, still listening, she heard the gipsey tempt him, saying, that when the fool came back he could take his money and kill him. But the bravo angrily cried that his honor was dear to him; he would not kill the fool, he would slay the stranger. Rigoletto had paid him well.
Gilda shuddered as she listened; so her father had paid the bravo to kill the duke. ”

“ Monterone is led off between halberdiers. The gay music again breaks in. The crowd follows the Duke. But Rigoletto?
The scene changes to the street outside of his house. It is secluded in a courtyard, from which a door leads into the street. In the courtyard are a tall tree and a marble seat. There is also seen at the end of the street, which has no thoroughfare, the gable end of Count Ceprano's palace. It is night.
As Rigoletto enters, he speaks of Monterone's curse. His entrance to the house is interrupted by the appearance of Sparafucile, an assassin for hire. ”

“ 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. ”

“ Text by PIAVE from VICTOR HUGO'S drama: "Le roi s'amuse".
No opera has become popular in so short a time as Rigoletto in Italy. The music is very {293} winning and is, like all that Verdi has written, full of exquisite melodies.
In Germany it has not met with the same favor, which is due in great part to its awful libretto, which is a faithful copy of Hugo's drama, and developed in a truly dramatic manner. The subject is however rather disgusting. Excepting Gilda, we do not meet with one noble character. ”

“ Then he realized that he was looking upon a tremendous revolving stage, divided into many exquisite sets. Each set appeared majestically, established itself, often with an almost indiscernable pause, and then moved out of view to be replaced by the next.
The second scene was the deserted street outside Rigoletto's cottage. Rigoletto appeared and disappeared, Gilda and the disguised Duke flashed through their duets, the orchestra set up the briefest of fanfares, and the lovely Maria Piavi moved to the center of the stage to sing Gilda's immortal aria,
"Caro nome che il me cor...." ”

“ And when he sees anything dearly associated with her, he touches it, kisses it—as though she were dead, and for her sake he loved it! Wearily, wearily dragging on life, till the crowd of courtiers met to receive the duke, on his rising for the day. Then the fool’s gay dress was donned again, covering his breaking heart, and the cap and bells mocking his deep, loving sighs.
“Good morning, Rigoletto—what news?{145}”
“News? you are nearer hell to-day than yesterday, by a score of hours. (Oh! my child! where art thou, oh! my child!) ”

“ Rigoletto is the hunchbacked jester to the Duke of Mantua who jealously guards his daughter, Gilda, from the world outside their home. Disguised as a student, the Duke woos Gilda and wins her love. Since the Duke’s courtiers hate the jester, they conspire to abduct Gilda and bring her to the ducal court to become the Duke’s mistress. Distraught at this turn of affairs, the jester vows to kill the Duke and hires a professional assassin to perform this evil deed. But since his own sister loves the Duke, the assassin decides to spare him and to kill a stranger instead. ”

“ A bell tolls midnight. He knocks at the door. Sparafucile brings out the sack, receives the balance of his money, and retires into the house. "This sack his winding sheet!" exclaims the hunchback, as he gloats over it. The night has cleared. He must hurry and throw it into the river.
Out of the second story of the house and on to the wall steps the figure of a man and proceeds along the wall toward the city. Rigoletto starts to drag the sack with the body toward the stream. Lightly upon the night fall the notes of a familiar voice singing:
It is the Duke. ”

“ Signor Verdi is less violent in his instrumentation in Rigoletto than he was in his earlier operas; but he has not here arrived at the music of intellect and expression, which is French or German, as distinguished from the music of melody, which is Italian.... The air of display for Gilda in the garden scene, called in the published copies of the [Pg 110] music a Polacca, though in common tempo, is as ineffective a mixture of commonplace and eccentricity as it ever fell to the lot of a prima donna to deliver. ”

“ Rigoletto, seeing that his daughter was at last convinced of her lover's faithlessness, was now eager to get her away from the inn, not wishing her to know of the tragic end in store for the false betrayer; and bidding her hasten home at once, he told her to disguise herself in the garments of a youth, which he had provided for her, and to then fly on horseback to Verona, where he would meet her later on. At first, Gilda could not bring herself to leave the [345] spot ”

“ Rigoletto thought that should be an ending dignified enough for any one. Meantime Ceprano overheard that pleasing conversation.
"They are black-hearted villains," he muttered aside.-246-
"Cut off that head so unbending," the Duke exclaimed, looking at Ceprano, who was really a noble-appearing aristocrat.
"Aye—we have discovered its use. Cut it off; that will make it pliant," the charming dwarf said, facetiously; and that being a bit too much for any noble to put up with, the Count drew his sword.
"Enough! you ribald hunchback," he cried; at which the Duke became uneasy. ”

“ I am foolish to believe this, am I not, M. Rudolph?"
"Not at all: I am sure that your good friends, the birds, love you too much not to perceive your sorrow."
"Really, the poor little things are so intelligent!" said Rigolette, naively, much satisfied at being assured of the sagacity of the companions of her solitude.
"Without doubt, nothing is more intelligent than gratitude. Come, once more, adieu. Soon, neighbor, I hope your pretty eyes will become sparkling, your cheeks very rosy, and your songs so gay—so gay—that Papa Cretu and Ramonette will hardly be able to follow you." ”

“ After a moment's pause, Rigolette resumed with a sigh, "On the other hand, we are both so poor, that perhaps it would not be reasonable. Look here, M. Rudolph, I do not wish to think of that; perhaps I am mistaken; but I will do all I can for Germain, as long as he remains in prison. Once free, it will always be time enough to see if it is love or friendship I feel for him; then if it is love, neighbor, it will be love. But it grows late, M. Rudolph; will you collect these papers, while I make up a bundle of linen? ”

“ Happiness calls for mercy and forbearance on our parts. I will obey its dictates, and merely allow myself to remark that Cabrion was a—a—worthless scoundrel!"
"But how do you know that he has gone to Germany?" inquired Rigolette.
"By a friend of our 'king of lodgers.' Talking of that dear man, you haven't heard that, owing to the handsome manner in which he recommended us, Alfred has been appointed house-porter to a sort of charitable bank, established in our house by a worthy Christian, who wishes, like M. Rodolph, to do all the good he can?" ”