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North American Editor:
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Marc Bridle

London Editor:
(London UK)

Melanie Eskenazi

Regional Editor:
(UK regions and Europe)
Bill Kenny

Seen and Heard International Opera Review

Verdi, Rigoletto (revival production): soloists, chorus and orchestra of Sofia National Opera and Ballet, Sofia, Bulgaria 20.10.2006 (BM)

Sofia National Opera and Ballet, founded in 1908, boasts a long-standing opera tradition – and apart from innovations in set design technology, the production of Rigoletto showing there this season is probably not much different in concept from what audiences were treated to back then. This alone is quite refreshing to an opera-goer from Germany (where the jester will typically appear on stage in an undershirt, e.g. in the new production showing in Mannheim this season), to whom traditional costumes almost come as a revelation these days.

Peeling paint on the structures of this proud opera house tells of restricted funds, making the full-scale performance I saw there all the more praiseworthy. A cleverly designed set included a swiveling runway-like contraption at center-stage which was equally conducive to portraying the banquet, kidnapping or tavern scenes. Red columns reminiscent of Knossos on the Greek isle of Crete were pretty to look at, but somehow did not tie in with their surroundings.

Of the soloists, the most illustrious – Boiko Tzvetanov as the Duke – was in a way perhaps the most disappointing. Too young to be considered a member of the 'Stand & Deliver' generation, he nonetheless did precisely that, albeit with a stupendous tenor eminently suited to the part, but alas so powerful that he seemed unable to tame it. The result was that Elena Stoyanova’s lovely Gilda was hopelessly drowned out in their duet in the first act. She may have been ever so slightly off-key once or twice and a trifle too shrill when reaching for high notes, but her performance was quite charming overall, and she obviously knows this role inside out.

Alexander Krunev was a marvelous Rigoletto, his warm, flexible baritone and consummate phrasing (and a costume including a long, flowing wig) making him one of the many memorable highlights of this night at the opera, along with the stirring all-male chorus (chorus master: Christo Kazandjiev) and brilliant orchestra – quite clearly enjoying themselves under the baton of Borislav Ivanov, who was occasionally obliged to flail his baton at an off-beat Duke. At the risk of coming across as facetious (not my intention!) with a cinematic comparison, let me just add that the Duke also bore an uncanny resemblance to Jack Black in High Fidelity while Rigoletto looked a great deal like someone from The Last of the Mohicans.

All things considered, this was a highly worthwhile and enjoyable evening, and a visit to the opera is not to be missed whenever in Sofia. It is no wonder that Bulgarian soloists, choruses and orchestras are becoming more and more sought after, not only in neighboring countries, but indeed Europe-wide. The best seats in the house at Sofia National Opera and Ballet cost approximately 8 Euros, and believe me, they are worth much more than that!

Bettina Mara

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Contributors: Marc Bridle (North American Editor), Martin Anderson, Patrick Burnson, Frank Cadenhead, Colin Clarke, Paul Conway, Geoff Diggines, Sarah Dunlop, Evan Dickerson Melanie Eskenazi (London Editor) Robert J Farr, Abigail Frymann, Göran Forsling, Simon Hewitt-Jones, Bruce Hodges,Tim Hodgkinson, Martin Hoyle, Bernard Jacobson, Tristan Jakob-Hoff, Ben Killeen, Bill Kenny (Regional Editor), Ian Lace, Jean Martin, John Leeman, Neil McGowan, Bettina Mara, Robin Mitchell-Boyask, Simon Morgan, Aline Nassif, Anne Ozorio, Ian Pace, John Phillips, Jim Pritchard, John Quinn, Peter Quantrill, Alex Russell, Paul Serotsky, Harvey Steiman, Christopher Thomas, John Warnaby, Hans-Theodor Wolhfahrt, Peter Grahame Woolf (Founder & Emeritus Editor)