WNO stun Plymouth audience at Theatre Royal Plymouth

Urgent repairs to be carried out on Theatre Royal Plymouth
-Credit: (Image: The Herald)


The WNO stunned local audiences last night with their version of Verdi’s favourite opera, Rigoletto. Plymouth is one of only three English cities to host this latest reincarnation of one of opera’s most popular stories and so there’s a tangible buzz in the air.

Directed by Adele Thomas and conducted by Pietro Rizzo, this is a gripping, new adaptation that manages to recapture some of the controversy the opera initially caused when it was first performed in 1851. In fact, Thomas’ presentation of The Duke’s courtroom orgies would make even a devout fan of “Bridgerton” blush.

In one of its opening scenes, the decadent parties The Duke (Raffaele Abete) hosts are depicted as utterly outrageous. The Lyric explodes with colour as the ensemble spills out onto the stage in an assortment of Jacobean inspired outfits. Some cast members are fully clothed with traditional wigs hung precariously on the top of their heads and some performers are barely clothed at all!

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Raunchy choreography, courtesy of Emma Woods, sees the people of the courtroom boldly move their bodies in time to the upbeat score. The men and women of the court cavort together to create a scene which is both sensual and alarming. Such racy choreography means the cast produce a party most definitely fit for a Duke that likes to indulge in immoral behaviour.

At the core of this tragic tale is the relationship between The Duke’s jester, Rigoletto (Daniel LuisdDe Vicente) and his daughter, Gilda (Soraya Mafi). Rigoletto upsets Count Monterone (Paul Carey Jones) by behaving like a buffoon towards him at one of the parties. Using traditional clowning techniques, Rigoletto humiliates Monterone to such an extent that Monterone decides to get revenge and put a curse on him. Rigoletto is desperate to protect his only child from the consequences of this curse but can Rigoletto save Gilda or will an ill-advised dalliance with The Duke lead to Gilda’s downfall?

Luis de Vicente’s performance as the troubled fool makes this adaptation particularly compelling. He bounces comically around the courtroom to fulfil his role as court jester yet when the curtain closes on these riotous parties, we’re treated to a glimpse of what lies beneath this grotesque mask he presents to the outside world. Luis de Vicente’s baritone voice delivers several heartfelt solo songs that express his anguish about the many dilemmas he is faced with. The story might be centuries old, but everyone can relate to the timeless issues he struggles with, and Luis de Vicente’s dark and rich singing voice exaggerates the melancholy side of Rigoletto’s personality.

Soraya Mafi’s performance as naïve Gilda is awe inspiring. She lights up the stage immediately when she enters in a billowing red and white dress. On a stage adorned with flowers and with her long, flowing hair, she is the very picture of innocence. A lot of her solo pieces are accompanied by the flute which helps even more to enhance her aura of elegance. The audience audibly inhales when she hits her highest notes; her voice is exquisite and suits the sweet nature of her character. The touching scenes shared between Gilda and Rigoletto are a world away from the debauchery of the courtroom and proof that Emma Woods and Adele Thomas can convey another softer side to relationships.

That said, the steamy side of the show does return towards its denouement in a rather visually striking scene between The Duke and Maddalena (Alyonna Abramova.) Singing to himself in a luxurious looking red velvet jewellery box of a set, The Duke (Raffaeke Abete) belts out the opera’s most recognisable number, “La donna e mobile”. Abete’s swagger is in line with his character’s arrogance and his singing voice delivers the impact such a famous song deserves. Things heat up as he strips off and there is a final flourish of passion with Maddalena who, despite being dressed in a large, restrictive dress, exhibits the same sensual movements we saw in scene one.

But it’s tension related to the sinister rather than the sexual that brings the show to its tragic ending. Quite honestly, I was amazed by how fresh and thrilling this opera felt. It has the highest production values, an incredible orchestra and performers that are all capable of breathing new life into these old characters.