Discover what is being said about this revival of Jonathan Miller’s production, running in London until the 21st November.
Broadway World: *** “The set design doesn’t have the impact it did when this opera first opened but the lighting (or subtle lack of) is beautifully dark in the alleyway scenes and in the dockside finale. Seeing the singers emerge from and then melt into the near-pitch-black environment is a magical touch that gives physical form to the underlying themes.”
The Guardian: *** “With ENO still so threatened, there must be qualms about the wisdom of yet another run-out, but this iconic show proved worth it: it remains a very clear, insightful and stylish setting for Verdi’s ever-popular breakthrough masterpiece.”
Bachtrack.com: *** “Diction was very strong, so it’s a relief that James Fenton’s singable translation continues to thrill after all these years. Then there were Miller’s trademark visual felicities. Most of these still gave pleasure even though on opening night only the second part of his legendary jukebox double made its mark. I’m sure that tiny blip will correct itself over the course of what promises to be an entertaining few weeks of treachery, misery and death. “
The Arts Desk: **** “Miller’s depraved mafia chic still looks, and sounds, convincing. Just as important, In Verdian terms, it still rings true.”
London Unattached: “Richard Farnes directed the singers and the splendid ENO band with aplomb, bringing out the drama in Verdi’s score. From the opening brass crescendi of the curse theme this was an exciting, sometimes sombre but always dynamic reading of the score with the full-throated chorus and musicians delivering some thrilling sonic moments. For a great evening of opera with an exceptional ensemble cast, this is a fine return for this production. Get a ticket!”
The Stage: **** “Sets are the star of this Mafia-themed opera.”
iNews: *** “ENO has all the tools here for a hit. Patrick Robertson and Rosemary Vercoe’s sets still look handsome, Farnes draws bags of energy and menace (as well as some silky string playing) from the orchestra, and Miller’s Mafiosi still have something to say. What a shame, then, that it’s muffled by a revival that’s all pinstripes and no pistol.”
Culture Whisper: **** “This production was pitch perfect when it was first staged in 1982, and it is terrific to think that a whole generation is coming to it anew, and important to see it through the surprised eyes of first-timers. Sleek and seedy, design by Patrick Robertson and Rosemary Varcoe’s is theatrical, and the story-telling, led by revival director Elaine Tyler-Hall, is clear.”
To book tickets visit: https://www.eno.org/whats-on/rigoletto/