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| Rigoletto |
| Verdi |
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| Rigoletto |
| Dramatic baritone role (sometimes sung by a bass-baritone). He is the hunch-backed court jester, father of Gilda. |
| Year |
| Artist |
| 1923 |
| 1924 |
| 1926 |
| 1929 |
| 1932 |
| 1935 |
| 1936 |
| 1950 |
| 1939 |
| 1952 |
| 1940 |
| 1941 |
| 1946 |
| 1947 |
| 1948 |
| 1954 |
| 1997-1998 |
| 1961 |
| 1966 |
| 1966 |
| 1981sum |
| 1990 |
| 1990 |
| San Francisco Opera Rigoletto History |
| * Reviews from Arthur Bloomfield's 1922-1978 The San Francisco Opera. |
| 1943 |
| 1945 |
| 1973 |
| 1944 |
| 1951 |
| 1958 |
| 1984 |
| Garbis Boyagian |
| 2001-2002 |
| 1937 |
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| 1961 |
| 1981sum |
| Act Two: Cortigiani, vil razza dannata |
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| Aria Data Base for Rigoletto |
| Act One: Scene Two: Pari siamo! |
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| 1940 - Weede was the season's new rigoletto, his large, beautiful voice and commanding presence bringing him one of the year's bigger ovations and some of the grandest critical praise. |
| 1945 - Ivan Petroff, a rather mellow-voiced baritone who had sund with the San Carlo, mand his SFO debut in one of the 1943 Rigoletto, initiating thereby a series of performances, which had more than solidity to offer. |
| 1946 - Lawrence Tibbett returned after five years' absence for a single performance as Rigoletto. His voice wasn't wht it had been-had drinking had not helped-but the portrayal was striking. |
| 1961 - Alder offered a choice between Bastianini and MacNeil,and quite a heady one it was, too. At first Bastianini's jester seemed overly busy and fidgety in the light of the less studied (or under-studied approach of MacNeil, but he went on to give a vivid, believable performance amidst all his seeming infatuation with tone and audience. |
| 1973 - Sherrill Milnes flew out to provide Ponnelle with a tremendously sincere, moving Rigoletto. His baritone didn’t strike all listeners as innately gorgeous, but the voice was big, pliable and he phrased with impetus. |
| 2006 |
| 2006 |
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| Paolo Gavanelli - 06 with Rigoletto costume from SFO Production Info. |
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| 19436 - Lawrence Tibbett |
| Gavanelli has a bewildering array of colors in his voice, with which he inflects lines in unexpected directions. His shaping of the famous monologue, Pari siamo ("We’re equals"), is an excellent indication of the power of this performance. Gavanelli began matter-of-factly, comparing himself to the murderer Sparafucile. He gave a haunted, sotto voce reading of the line, "The old man cursed me." Gavanelli was scrupulous in observing the score, never mistaking volume for intensity as he spitefully raged at humanity and nature . . . And when he suddenly broke off with, "here my nature changes," indicating the house where his daughter Gilda waits, he twisted the last word with a staccato accent as he was reminded of the curse. Verdi changed the accompaniment precisely on the word cangio, but few baritones pounce on the clue so clearly./ SFCV |
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