Book contents
- Frontmatter
- Part I Personal, cultural, and political context
- Part II The style of Verdi's operas and non-operatic works
- Part III Representative operas
- 11 Ernani: the tenor in crisis
- 12 “Ch'hai di nuovo, buffon?” or What's new with Rigoletto
- 13 Verdi's Don Carlos: an overview of the operas
- 14 Desdemona's alienation and Otello's fall
- Part IV Creation and critical reception
- Notes
- List of Verdi's works
- Select bibliography and works cited
- Index
12 - “Ch'hai di nuovo, buffon?” or What's new with Rigoletto
from Part III - Representative operas
Published online by Cambridge University Press: 28 September 2011
- Frontmatter
- Part I Personal, cultural, and political context
- Part II The style of Verdi's operas and non-operatic works
- Part III Representative operas
- 11 Ernani: the tenor in crisis
- 12 “Ch'hai di nuovo, buffon?” or What's new with Rigoletto
- 13 Verdi's Don Carlos: an overview of the operas
- 14 Desdemona's alienation and Otello's fall
- Part IV Creation and critical reception
- Notes
- List of Verdi's works
- Select bibliography and works cited
- Index
Summary
Set at the court of the Duke of Mantua in the sixteenth century, Rigoletto is the story of a jester whose situation is anything but funny. Ugly, with a hunched back, he is pitilessly derided by the courtiers. In his whole life he has known only one brief period of happiness, when – well before the time of the opera – a woman took pity on him, became his wife, and gave him a daughter. Now a widower, his only solace is that daughter, Gilda, whom he protects obsessively, hoping above all that the Duke (a notorious seducer) will not find her. Unfortunately this is precisely what happens: as the curtain rises, the Duke is preparing to make his move. Gilda is aware of her suitor (although not of his identity) but says nothing to her father. In Act I she enjoys her first few moments together with the Duke before being abducted by a group of courtiers intent on playing a trick on Rigoletto – they think Gilda is his mistress. Momentarily thwarted, the Duke is soon back on top of things: the courtiers can’t wait to tell him about their exploits, and about the woman they are keeping prisoner in the palace. Exit the Duke to an adjoining room, to do what he does best. Rigoletto then arrives to quiz the courtiers, soon realizing that what he fears most is happening at that very moment. When Gilda comes back in to confess that she is no longer the emblem of unworldly purity he thought, he swears revenge on the Duke.
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- Information
- The Cambridge Companion to Verdi , pp. 197 - 208Publisher: Cambridge University PressPrint publication year: 2004
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