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Sin City Duke: Met moves `Rigoletto’ to Las Vegas
“At first you get a shock. Why and how?” the German soprano said. “But I think it works perfectly for the U.S.A., so they have a real American `Rigoletto.’”
The first of Giuseppe Verdi’s three great middle-period triumphs has been shifted to New York’s Little Italy, Federico Fellini’s Rome, modern-day Hollywood and even the Oval Office. Now it will take place amid dazzling Sin City lights and not in the Renaissance Palazzo Ducale when Michael Mayer’s version of the 162-year-old classic opens Jan. 28.
“Many people are a little bit scared about it, because they just see or hear about Las Vegas,” Polish tenor Piotr Beczala said.
The Met, known for having a conservative audience, has seen divisive debate unfold on its Facebook page. The 200th anniversary of Verdi’s birth is Oct. 10, and a segment of fans abhors regietheater, where the director reinterprets the original creation.
“I know that there are some people who come to boo new productions, particularly new productions that are of staple repertory pieces,” Met General Manager Peter Gelb said. “My expectations and hopes are that this will work and that it will be grand and spectacular and dramatically right and a good platform for these three great singers.”
Michele Mariotti conducts.
“From the beginning, I was a little bit suspicious because I’m very traditional and a classic-oriented guy,” Lucic said during the final week of rehearsals, “but now I’m enjoying this very much.”
To replace Otto Schenk’s traditional 1989 staging, Gelb at first hired Swiss director Luc Bondy, whose grim vision of Puccini’s “Tosca” prompted intense booing when it debuted on the opening night of the 2009-10 season. A co-production with the Wiener Festwochen and Milan’s Teatro alla Scala, Bondy’s “Rigoletto” opened in Vienna in May 2011 with a dark 19th-century setting, and Gelb decided to drop it. He called Mayer, who won a Tony Award in 2007 for the rock musical “Spring Awakening,” and asked him to make his opera debut.
The Duke is now a casino mogul/lounge singer on the Strip. Mayer suggested Beczala think of Frank Sinatra for the Duke and Lucic think of Don Rickles and Joey Bishop for Rigoletto, a cigarette-smoking, hunchback comedian rather than a court jester. Marullo is akin to Dean Martin and Borsa to Peter Lawford.
Mayer cautions they are mere templates, not actual representations.
“We’re really living in a world right now that celebrates Las Vegas all the time in the movies and TV,” he said. “It’s just a cultural touchstone for all of us to represent a decadent place with power, money, glamour, sex, crime.”
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