Rigoletto
Mo | Tu | We | Th | Fr | Sa | Su |
Synopsis
Act 1
Scene 1: A room in the palace
At a ball in his palace, the Duke sings of a life of pleasure with as many women as possible: "Questa o quella" ("This woman or that"). He has seen an unknown beauty in church and desires to possess her, but he also wishes to seduce the Countess of Ceprano. Rigoletto, the Duke's hunchbacked court jester, mocks the husbands of the ladies to whom the Duke is paying attention, including the Count Ceprano, and advises the Duke to get rid of him by prison or death. Marullo, one of the guests at the ball, informs the courtiers that Rigoletto has a "lover", which astonishes them. The courtiers resolve to take vengeance on Rigoletto for making fun of them. The festivities are interrupted by the arrival of the elderly Count Monterone, whose daughter the Duke had seduced. Rigoletto provokes him further by making fun of his helplessness to avenge his daughter's honor. Monterone confronts the Duke, and is immediately arrested by the Duke's guards. Before being led off to prison, Monterone curses Rigoletto for having mocked his righteous anger. The curse terrifies Rigoletto, who is superstitious and, like many people at the time, believes that an old man's curse has real power.
Scene 2: A street, with the courtyard of Rigoletto's house
Preoccupied with the old man's curse, Rigoletto approaches his house and is accosted by the assassin Sparafucile, who walks up to him and offers his services. Rigoletto declines for the moment, but leaves open the possibility of hiring Sparafucile later, should the need arise. Sparafucile wanders off, after repeating his own name a few times. Rigoletto contemplates the similarities between the two of them: "Pari siamo!" ("We are alike!"); Sparafucile kills men with his sword, and Rigoletto uses "a tongue of malice" to stab his victims. Rigoletto opens a door in the wall and returns home to his daughter Gilda. They greet each other warmly: "Figlia!" "Mio padre!" ("Daughter!" "My father!"). Rigoletto has been concealing his daughter from the Duke and the rest of the city, and she does not know her father's occupation. Since he has forbidden her to appear in public, she has been nowhere except to church and does not even know her own father's name.
When Rigoletto has gone, the Duke appears and overhears Gilda confess to her nurse Giovanna that she feels guilty for not having told her father about a young man she had met at the church. She says that she fell in love with him, but that she would love him even more if he were a student and poor. As she declares her love, the Duke enters, overjoyed. Gilda, alarmed, calls for Giovanna, unaware that the Duke had sent her away. Pretending to be a student, the Duke convinces Gilda of his love: "È il sol dell'anima" ("Love is the sunshine of the soul"). When she asks for his name, he hesitantly calls himself Gualtier Maldè. Hearing sounds and fearing that her father has returned, Gilda sends the Duke away after they quickly trade vows of love: "Addio, addio" ("Farewell, farewell"). Alone, Gilda meditates on her love for the Duke, whom she believes is a student: "Gualtier Maldè!... Caro nome" ("Dearest name").
Later, Rigoletto returns: "Riedo!... perché?" ("I've returned!... why?"), while the hostile courtiers outside the walled garden (believing Gilda to be the jester's mistress, unaware she is his daughter) get ready to abduct the helpless girl. They tell Rigoletto that they are actually abducting the Countess Ceprano. He sees that they are masked and asks for a mask for himself; while they are tying the mask onto his face, they also blindfold him. Blindfolded and deceived, he holds the ladder steady while they climb up to Gilda's room: Chorus: "Zitti, zitti" ("Softly, softly"). With her father's unknowing assistance Gilda is carried away by the courtiers. Left alone, Rigoletto removes his mask and blindfold, and realizes that it was in fact Gilda who was carried away. He collapses in despair, remembering the old man's curse.
Act 2
The Duke's Palace
The Duke is concerned that Gilda has disappeared: "Ella mi fu rapita!" ("She was stolen from me!") and "Parmi veder le lagrime" ("I seem to see tears"). The courtiers then enter and inform him that they have captured Rigoletto's mistress: Chorus: "Scorrendo uniti" ("We went together at nightfall"). By their description, he recognizes it to be Gilda and rushes off to the room where she is held: "Possente amor mi chiama" ("Mighty love beckons me"). Pleased by the Duke's strange excitement, the courtiers now make sport with Rigoletto, who enters singing. He tries to find Gilda by pretending to be uncaring, as he fears she may fall into the hands of the Duke. Finally, he admits that he is in fact seeking his daughter and asks the courtiers to return her to him: "Cortigiani, vil razza dannata" ("Accursed race of courtiers"). Rigoletto attempts to run into the room in which Gilda is being held, but the courtiers block the way. Gilda enters. The courtiers leave the room, believing Rigoletto has gone mad. Gilda describes to her father what has happened to her in the palace: "Tutte le feste al tempio" ("On all the blessed days"). In a duet Rigoletto swears vengeance against the Duke, while Gilda pleads for her lover: "Sì! Vendetta, tremenda vendetta!" ("Yes! Revenge, terrible revenge!").
Act 3
A street outside Sparafucile's house
A portion of Sparafucile's house is seen, with two rooms open to the view of the audience. Rigoletto and Gilda arrive outside. The Duke's voice can be heard singing "La donna è mobile" ("Woman is fickle"), laying out the infidelity and fickle nature of women. Rigoletto makes Gilda realize that it is the Duke who is in the assassin's house attempting to seduce Sparafucile's sister, Maddalena: "Bella figlia dell’amore" ("Beautiful daughter of love").
Rigoletto bargains with the assassin, who is ready to murder his guest for 20 scudi. Rigoletto orders Gilda to put on a man's clothes to prepare to leave for Verona and states that he plans to follow later. With falling darkness, a thunderstorm approaches and the Duke decides to spend the rest of the night in the house. Sparafucile directs him to the ground floor sleeping quarters, resolving to kill him in his sleep.
Gilda, who still loves the Duke despite knowing him to be unfaithful, returns dressed as a man and stands outside the house. Maddalena, who is smitten with the handsome Duke, begs Sparafucile to spare his life. Sparafucile reluctantly promises her that if by midnight another victim can be found, he will kill the other instead of the Duke. Gilda, overhearing this exchange, resolves to sacrifice herself for the Duke, and enters the house. Sparafucile stabs her and she collapses, mortally wounded.
At midnight, when Rigoletto arrives with money, he receives a corpse wrapped in a sack, and rejoices in his triumph. Weighting it with stones, he is about to cast the sack into the river when he hears the voice of the Duke, sleepily singing a reprise of his "La donna è mobile" aria. Bewildered, Rigoletto opens the sack and, to his despair, discovers his dying daughter. For a moment, she revives and declares she is glad to die for her beloved: "V'ho ingannato" ("Father, I deceived you"). She dies in his arms. Rigoletto cries out in horror: "La maledizione!" ("The curse!")
Program and cast
CONDUCTOR
Marco Armiliato
01, 07, 20 July 04 August
IL DUCA DI MANTOVA
Yusif Eyvazov
01, 07 July
Juan Diego Flórez
20 July
Piotr Beczała
04 August
RIGOLETTO
Roman Burdenko
01 July
Ludovic Tézier
07 July
Luca Salsi
20 July
Amartuvshin Enkhbat
04 August
GILDA
Nina Minasyan
01, 07, 20 July
Nadine Sierra
04 August
SPARAFUCILE
Gianluca Buratto
01, 07, 20 July 04 August
MADDALENA
Valeria Girardello
01, 07, 20 July 04 August
GIOVANNA
Agostina Smimmero
01, 07, 20 July 04 August
IL CONTE DI MONTERONE
Gianfranco Montresor
01, 07, 20 July 04 August
MARULLO
Nicolò Ceriani
01, 07, 20 July 04 August
MATTEO BORSA
Riccardo Rados
01, 07, 20 July 04 August
IL CONTE DI CEPRANO
Matteo Ferrara
01, 07, 20 July 04 August
LA CONTESSA DI CEPRANO
Francesca Maionchi
01, 07, 20 July 04 August
UN USCIERE DI CORTE
Giorgi Manoshvili
01, 07, 20 July 04 August
UN PAGGIO DELLA DUCHESSA
Elisabetta Zizzo
01, 07, 20 July 04 August
Verona Arena
The seats categories by age, it is to highly recommend for older persons only the stalls/parterre/orchestra seats (platinum, gold, silvera, poltronissima and poltrona categories), the rest of the seats on the stairs are not easy to climb, the stone blocks are each of about 0,5m high, the old stone stairs aren not everwhere available, it can be really hard to reach the seats, the first lines, tribunes, not to mention the last levels. Opticaly the arena seems to be not extra big, actually it is quite huge, the capacity of the half of the arena today, adapted for the Arena Opera Festival is of: 15.000,00 spectators. It is about half of the space, the rest is taken for the stage set up. There are no seats behind the stage for view reasons.
1.*Explore more with the Verona Card!
Verona Card is your key to the city, unlocking its rich cultural heritage and helping you save!
This combined ticket gives you savings on entrance to the main sights in the city, from the Arena to Juliet’s House, from Castelvecchio to the Museo Archeologico at the Teatro Romano.
There are two versions of the card available: a 24-hour card for €20 and a 48-hour card for €25. And that is not all: with the Verona Card, you can travel on buses in the city for free!
Let me show you some of the benefits of this card in more detail.
The following places offer free admission to Verona Card holders:
The Verona Arena,
The Arche Scaligere Tombs,
Basilica di Sant’Anastasia,
Basilica di San Zeno,
Juliet’s House,
San Fermo Church,
Verona Cathedral,
GAM Achille Forti modern art gallery,
Castelvecchio Museum,
Natural History Museum,
Juliet’s Tomb and frescoes museum and the Lamberti towers.
The following places offer discounted admission to Verona Card holders:
Fondazione Museo Miniscalchi Erizzo
Museo Africano
Giardino Giusti
Further reductions:
Arena di Verona Opera Festival,
SIM Shakespeare Interactive Museum,
guided tours of the city centre,
the tourist train around the city centre,
CitySightseeing Verona,
Simonetta Bike Tours,
Saba Arena car park,
Adige Rafting.
Outside Verona: Museo Nicolis in Villafranca, Parco Sigurtà in Valeggio sul Mincio.
Important information:
- The Verona Card only gives admission to each museum/monument once.
- On the first Sunday of every month, from October to May, entrance to the public museums in Verona is just €1.
- The prices shown are subject to change, outside the control of the organisers.
- The Verona Card is non-refundable in the event of changes to the opening hours or the closure of the partner attractions, or in the event of a strike, public holiday or for other reasons, outside the control of the organisers.
- On buses run by ATV, the Verona Card must be validated by placing the card on the reader.
- The Verona Card is not valid on the Aerobus airport shuttle.
- The opening times of all of the listed attractions, in particular the Arena and churches, are subject to change for shows, services, special events and public holidays.
The Verona Arena (Arena di Verona) is a Roman amphitheatre in Piazza Bra in Verona, Italy built in 30 AD. It is still in use today and is internationally famous for the large-scale opera performances given there. It is one of the best preserved ancient structures of its kind.
2. City Sightseeing® Verona*
City Sightseeing® Verona allows you to admire city walls, castles, barracks, landscapes and historical, cultural, military, folkloristic and culinary testimonies, of a city declared a World heritage site by UNESCO.
The City Sightseeing®Verona has two sightseeing tours, sharing the departure in Piazza Bra, the Arena Square, symbol of the city.
The Line A leads to the Garderns Pradaval, reaching the medieval walls and getting to the district of San Zeno, with its famous Basilica; it moves towards the Adige, getting to Castelvecchio and continuing towards the Porta dei Borsari, the Roman Theatre and the Stone Bridge, the eldest monument of the city.
The Line B concerns the eastern part of the city, before moving to one of the most beautiful overlooks, Castel San Pietro. It then goes down then the hill and enters the city's historic district, where you can admire the typical bell towers of the Cathedral of Saint Anastasia. From here you can reach Piazza Erbe and Piazza dei Signori, until you get to Juliet's House.
Amphitheatre
The building itself was built in AD 30 on a site which was then beyond the city walls. The ludi (shows and games) staged there were so famous that spectators came from many other places, often far away, to witness them. The amphitheatre could host more than 30,000 spectators in ancient times.
The round façade of the building was originally composed of white and pink limestone from Valpolicella, but after a major earthquake in 1117, which almost completely destroyed the structure's outer ring, except for the so-called "ala", the stone was quarried for re-use in other buildings. Nevertheless it impressed medieval visitors to the city, one of whom considered it to have been a labyrinth, without ingress or egress. Ciriaco d'Ancona was filled with admiration for the way it had been built and Giovanni Antonio Panteo's civic panegyric De laudibus veronae, 1483, remarked that it struck the viewer as a construction that was more than human.
Musical theatre
The first interventions to recover the arena's function as a theatre began during the Renaissance. Some operatic performances were later mounted in the building during the 1850s, owing to its outstanding acoustics.
And in 1913, operatic performances in the arena commenced in earnest due to the zeal and initiative of the Italian operatenor Giovanni Zenatello and the impresario Ottone Rovato. The first 20th-century operatic production at the arena, a staging of Giuseppe Verdi's Aida, took place on 10 August of that year, to mark the birth of Verdi 100 years before in 1813. Musical luminaries such as Puccini and Mascagni were in attendance. Since then, summer seasons of opera have been mounted continually at the arena, except in 1915–18 and 1940–45, when Europe was convulsed in war.
Nowadays, at least four productions (sometimes up to six) are mounted each year between June and August. During the winter months, the local opera and ballet companies perform at the L'Accademia Filarmonica.
Modern-day travellers are advised that admission tickets to sit on the arena's stone steps are much cheaper to buy than tickets giving access to the padded chairs available on lower levels. Candles are distributed to the audience and lit after sunset around the arena.
Every year over 500,000 people see productions of the popular operas in this arena.[3] Once capable of housing 20,000 patrons per performance (now limited to 15,000 because of safety reasons), the arena has featured many of world's most notable opera singers. In the post-World War II era, they have included Giuseppe Di Stefano, Maria Callas, Tito Gobbi and Renata Tebaldi among other names. A number of conductors have appeared there, too. The official arena shop has historical recordings made by some of them available for sale.
The opera productions in the Verona Arena had not used any microphones or loudspeakers until an electronic sound reinforcement system was installed in 2011.
How to reach Verona
By Car
Verona is easily reached by taking:
- the A4 Motorway SERENISSIMA, Milan-Venice, exit Verona Sud.
- or by taking the A22 Motorway Brennero-Modena, followed by the A4 Motorway Milan-Venice, direction Venice, exit Verona Sud.
Then follow the signs for all directions ('tutte le direzioni) followed by the signs for the city centre.
Approximative distances from Verona by Motorways:
Vicenza km 51 Venezia km 114 Florence km 230
Brescia km 68 Bologna km 142 Rome km 600
Padova km 84 Bolzano km 157 Naples km 800
Trento km 103 Milan km 161
By Bus
The city centre is linked to the surrounding towns and villages, as well as Lake Garda, by a public transport bus service (the buses are blue in colour) which can be accessed at the bus station, situated directly opposite the train station (APTV Service). Click here for timetables and routes.
By Train
The main railway station is VERONA PORTA NUOVA, which is the crossroads of both the Milan - Venice line and the Brennero - Rome line.
There are direct trains and InterCity trains from all the main railway stations in the north of Italy throughout the day.
Duration of trip : from Padua 40 minutes; from Vicenza 30 minutes; from Venice 1½ hours; from Milan 2 hours and from Rome 5 hours.
City buses can be taken from the train station to the city centre and arrive in Piazza Bra, the central square where the Arena Amphitheatre is found.
The Bus numbers are 11, 12, 13, 14, 72 and 73.
By Plane
Verona's international Airport Catullo in Villafranca is situated approximately 10 km S-W of the city centre.
There is a shuttle bus service to and from the airport approximately every 20 minutes from 06.10 to 23.30.
The airport bus terminal is outside Porta Nuova Railway Station.
Brescia Montichiari Airport which is situated approximately 52 kilometres from Verona, is also linked to Verona Porta Nuova Train station by a shuttle bus which runs approximately twice a day, in the morning and in the evening. Again the bus terminal is outside Porta Nuova Railway Station.
Parking nearby - Getting by car and parking next to the Arena
From highway A4 or A22 get the exit for Verona Sud.
Follow the signal “tutte le direzioni” (all directions) and then Verona city centre.
Parking Arena 100m
Via M.Bentegodi,8 - Verona - 37122
Parking Arsenale
Piazza Arsenale,8 - Verona - 37126
Parking Isolo
Via Ponte Pignolo, 6/c - Verona - 37129
Parking Polo Zanotto
Viale Università,4 - Verona - 37129
There are plenty of restaurants and hotels next to the ancient amphitheatre.