greg@oliven.UUCP (Greg Paley) (03/13/85)
I caught our local PBS station's broadcast of the Jean-Pierre Ponelle production of Verdi's "Rigoletto" last night. As with other Ponelle opera films, this was a cinema-only performance with performers mouthing to (or singing along with) a pre- recorded soundtrack. In this case, the soundtrack had been made in Vienna while the filming itself was done in Mantua, where the opera itself takes place. I've had lots of negative things to say about opera on tv before, particularly with regard to the "Live from the Met" series. This one I really enjoyed. Whether or not one likes some of Ponelle's inspirations, his filmed opera performances are always based on first-rate musical execution. This was no exception, with beautiful shaping and pacing of the work by Riccardo Chailly, superbly played by the Vienna Philharmonic. I heard Chailly conduct "Turandot" in San Francisco in 1977 (with Caballe & Pavarotti) and was impressed with his ability to maintain tension and overall shape while allowing the soloists breathing room. In "Rigoletto" I heard the same qualities now applied to what I feel is far greater music. Tempi were swift and textures transparent when required, but there was ample lyricism and weight for dramatic moments. The opera was also very well sung, much better than the last, disastrous Met telecast of it several years ago, also featuring Luciano Pavarotti. Pavarotti was obviously the selling point in the minds of the local PBS station publicists, but he was, in fact, only one good element of an overall strong cast. It is actually the baritone Rigoletto, performed by Ingvar Wixell, who should be considered the "star" in the cast. In any case, Pavarotti sang better than I've heard him in some time and acted better than I would have imagined possible. Whatever magic Ponelle works as a director, it as effective here. Wixell's performance was powerfully sung and acted, with great depths of feeling, high-decibel force for the "Cortigiani" and other outbursts, and a beautiful warm legato for the many lyrical, tender sections. Edita Gruberova gave a more than creditable performance of Gilda. For some reason I found it impossible to warm to either her singing or her characterization. The voice is flexible and secure but lacks luster and ease of flow. Her characterization was positive and strong, but didn't convey the delicacy or fragility that Gilda should. Her "Caro Nome" was an indication of how general standards of coloratura singing have risen. Whereas "golden age" sopranos treated it purely as staccato acrobatics, Gruberova made it expressive and yearning. Also, the weight of her voice allowed her to ride the ensemble effectively in the storm scene at the inn, where lighter powder-puff Gilda's get swamped. What she lacked was that extra degree of humanity and individuality that would have made Gilda unforgettable. Ponelle's production/direction had its usual share of kinky tricks. In this case, I felt they didn't hurt anything and served to enliven and illuminate a number of passages. The one exception is the murder of Gilda. The score says that Gilda is to be dressed in men's clothing, disguised as a (male) traveller. As such Sparafucile felt little remorse at putting an anonymous traveller out of his misery and getting himself off the hook with Rigoletto. As it was shown here, with Gilda entering the inn in flowing gown, it added a further ruthlessness that distorted the characters of Sparafucile and Maddalena. Also, the business of playing out the last scene in a small boat made me very nervous - I was afraid the thing would tip over when they sang high notes. Overall, though, I liked it. This is the type of thing I would want someone to see who was interested in getting to know about opera. - Greg Paley
dep@allegra.UUCP (Dewayne Perry) (03/16/85)
<i'm only mouthing this - the sound is from vienna> I have to disagree with you Greg. I thought the singing was generally unconvincing. Apart from the fact that it really bugs me that it is obvious that they are mouthing the stuff and that I guess I really dont like cinematic versions of opera - I like to see the sweat and strain - Pavarotti was, as you said, better than last time. However, Gilda wasn't convincing at all and didn't move me with her voice either. The best music is in fact given to Rigoletto and I thought that there wasn't any soul to it last night. R's arias are deeply moving - rather, they should be - and they weren't. Even turning off the TV didn,t help. Dewayne E. Perry