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| Rigoletto |
| Verdi |
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| Duke of Mantua |
| Lyric tenor role. Rigoletto's employer. |
| Year |
| Artist |
| 1923 |
| 1924 |
| 1926 |
| 1929 |
| 1932 |
| 1935 |
| 1936 |
| 1939 |
| 1952 |
| 1940 |
| 1941 |
| 1946 |
| 1947 |
| 1948 |
| 1954 |
| Richard Tucker |
| 1997-1998 |
| Richard Leech |
| 1961 |
| Renato Cioni |
| 1966 |
| Giacomo Aragal |
| 1966 |
| Alfredo Kraus |
| 1981sum |
| 1990 |
| 1990 |
| Hong-Shen Li |
| San Francisco Opera Duke of Mantua History |
| * Reviews from Arthur Bloomfield's 1922-1978 The San Francisco Opera. |
| 1943 |
| 1945 |
| Dano Raffanti |
| Ottavio Garaventa |
| 1973 |
| Richard Leech |
| 1944 |
| 1951 |
| 1958 |
| Gianni Raimondi |
| 1984 |
| Peter Dvorsky |
| Frank Lopardo |
| 2001-2002 |
| 1937 |
| Dino Borgioli |
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| Giacomo Lauri-Volpi |
| 1997-1998 |
| Tito Beltrán |
| Jussi Bjoerling |
| Jan Peerce |
| Francisco Naya |
| Frederick Jage |
| Website is of entertainment and research and ocntains info found by using Google. |
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| Jan Peerce |
| Jan Peerce |
| Jan Peerce |
| Jan Peerce |
| Jan Peerce |
| Jan Peerce |
| Jan Peerce |
| 1952 |
| Eugene Conley |
| 1954 |
| Brian Sullivan |
| 1961 |
| Duke of Matina |
| Act Three: La donna e mobile |
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| Aria Data Base for Duke of Mantua |
| Act Two: Parmi veder le lagrme |
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| Act One: Scene One: Questa o quella |
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| 1929 - Opening night at Dreamland brought the super-tenor Giacomo Lauri-Volpi on stage and a traffic jam of customers and gawkers, outside. The opera was Rigoletto and Lauri-Volpi's " La donna e mobile" stoopped the show. The ovation remains one of the longest in company history. |
| 1973 - The handsome Spaniard Giacomico Aragall, playing the duke offered Latin charm and a big, boyishly lyric tenor. |
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| 2006 |
| Giuseppe Gipali-06 was a welcome newcomer as the Duke. Not as robust as some tenors in this role (especially in the lower register), he nevertheless has a beautiful head voice Review. |
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| Right 1935: Tito Schipa Below 1939: Frederick Jage |
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| Rolando Villazon Talks About Duke, Singing, Domingo, Himself/ Story |
| RIGOLETTO AT THE MET Mr. Villazón has almost everything you want in a lyric tenor: a voice with a warm cast and a healthy glow; a deft mix of supple lyricism and expressive spontaneity; superior musical intelligence. In his portrayal of the sex-obsessed duke, virility coursed equally through his acting and his singing. Still, those who are calling him the next Pavarotti are not helping him. His voice lacks natural heft. On this night, when he summoned full-size fortissimos, you sensed effort in his singing and his sound turned grainy./ Someday we may read this type ofreview about a SFO production. |
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| Act Two: Possente amor mi chiama |
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