I should probably do something to make up for my last post. During my three weeks in the States, most of the conversation and the ENTIRETY of the news revolved around the antics of the pwesident and his circular firing squad of cronies. It was “All Twump, All the Time”. He eventually wheedled his way into my blog. But now I am home again and after stumbling through two days of jetlag, I am ready to write about something that has nothing to do with American politics – maybe something European and cultured . . . sophisticated . . . snooty, even.
Luckily, it just so happens that I went to the opera yesterday. “Rigoletto” by Giuseppe Verdi. And not just in any ol’ opera house – but one that had been built outdoors inside a huge stone quarry:
As we took the roundabout walkway that descended into the quarry, the impressive stage slowly came into sight. And when we took our seats, I was happy to see that the ones directly in front of mine were empty for four rows – leaving me a perfect view. The stage itself was at least four times the size of a normal one, and having no ceiling, it allowed for dramatically large objects in the stage design. The natural rock wall behind it was integrated into the backdrop and light show. The sound system surrounding us would put us deep inside of the music:
The sun set and the opera began. The sheer enormity of the stage props made the players seem tiny at first – but that might fit well with one theme of the opera – the general smallness of people. They scurried around the stage like insects while huge projected images loomed over them. (Only their singing voices were large enough in dimension to compete.)
For those that don’t know the story (as I myself didn’t until reading up on it during the two hour drive to the quarry), Rigoletto is a court jester serving a womanizing Duke whose most profound statement is that love must be free (and apparently, fleeting). He then proceeds to seduce (ruin) one girl after another with Rigoletto’s help. The jester’s reward is the kick he gets out of ridiculing the girls’ husbands and fathers once the deed has been done. However, when one of these offended men puts a curse on Rigoletto, it begins to haunt him obsessively – to the point where he considers paying to have this father killed. It is a glimpse that somewhere inside him, there might be something like a conscience. Why else would this curse get to him so badly? For one brief moment, he seems to realize that as a person, he is not much better than a hired assassin. He uses his tongue as his sword while aiding and abetting the juvenile, narcissist/playboy in charge, possibly against his own character. I couldn’t help but think of all those rep . . . (nope, no, not going to go there, back to the plot . . .)
Rigoletto’s most human quality is the love he has for his daughter whose existence he has kept a secret from everyone. (You see where this is going now, don’t you?) Oddly enough, he also keeps his real name and what he does for a living a secret from her – as if he asked himself “How could I look my daughter in the eye and say I support this man?” (Oops, darn it! back to the opera.) Of course, he wouldn’t want his own daughter anywhere near the Duke, much less, god forbid, alone with him.
In a Shakespearean-style, implausible mix-up, Rigoletto ends up unwittingly helping in the kidnapping of – you guessed it – his own daughter who then becomes the Duke’s next conquest. Enraged, Rigoletto returns to the assassin and this time goes through with the deal – but with a new target: the Duke. When his daughter tells him that she still loves the man, he forces her to watch the Duke go after his next conquest and then sends her away. She sneaks back and sacrifices herself to save the Duke. She manages to stay alive just long enough to be discovered by her father, sing a (fairly long!) aria and apologize, as if it were her own actions and not her father’s that brought all this about. Then she dies.
Things never seem to go well for the female characters in operas.
But that is not quite the end. Rigoletto holds his dead daughter and screams out something about “The Curse!!” In other words, “look what has been done to me!” rather than “look what I have done!”
Aahhh, 19th Century morality. Gotta love it. Those were the days. So great. Wish we could be (made) so great again . . . (oops, sorry!) . . .
No, I did not think about Twump and his minions all through the opera. In fact I didn’t give them a second thought. They came slinking back today as I wrote this post. Thankfully, last night the music and singing and stagecraft were so wonderful, that they allowed me to suspend the present and shake off my modern feminist and political sensibilities for three straight hours (which went by in a flash!) I thoroughly enjoyed the experience of this horrible horrible story.