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
Pictures © Sofia National Opera and Ballet
