Legendary Italian composer Giuseppe Verdi would be thrilled to see Tomer Zvulun’s dynamic production of his classic opera at the Dorothy Chandler Pavilion.
By John Lavitt
Los Angeles, CA (The Hollywood Times) 06-07-2025
“There is no terror in the bang, only in the anticipation of it.” — Alfred Hitchcock
In a Note From The Director in the concert program, Tomer Zvulun quotes Alfred Hitchcock to give audiences the flavor of his new version of Rigoletto. Along with being an inspiring opera, Rigoletto also conveys a sense of mystery and suspense. From the beginning of this new production by the LA Opera at the Dorothy Chandler Pavilion, audiences are carried away by the mystery of the storyline. With James Conlon conducting the LA Opera Orchestra, the powerful music behind the mystery drives the story with verve and panache.
However, the first thing the audience notices when the curtain opens is the monumental and magnificent set design of Erhard Rom. With its immense classical structures and striking columns, it feels as though we are immediately transported back to classic Italy, where the Roman influence still reigns supreme. With a fabulous Roman fresco at the center of the set, the flavor of where we are and when never leaves the production.
At the heart of the storyline, the miscommunication and conflict between the prideful court Jester, Rigoletto, and his beautiful daughter, Gilda, drive the narrative. As the title character, Quinn Kelsey embodies the role with his voice and physicality. With a resounding baritone, Kelsey conveys the clown’s sense of injustice and anger. Although he claims to want to protect his daughter from the lustful clutches of the Duke of Mantua (René Barbera), in truth, he is more concerned with protecting his pride and reputation.
Although she is a supporting character to her father, Gilda is the heart and soul of this version. As Gilda, soprano Lisette Oropesa is a voice crying out in the wilderness for decency and sanity. As the lust and machinations of men swirl around her, we long for her goodness to survive. Alas, Rigoletto is a tragedy for a reason, and there is no earthly salvation for anyone in the story. Thus, although we dread the bang, the anticipation of it dominates our consciousness.
Perhaps the most remarkable success of this production is how Tomer Zvulun incorporates modern elements, transforming the horde of masked courtiers into a reflection of Stanley Kubrick’s Eyes Wide Shut. Indeed, there is a perversion of decency at the heart of this narrative that cannot be avoided, and the courtiers use masks like Rigoletto uses makeup. Being able to hide their identities, they are free to commit any sin without cosmic consequence. From the beginning to the end, the LA Opera’s Rigoletto is a breathtaking success.
Photos by Cory Weaver, Courtesy of the LA Opera
