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'{{two other uses|the opera|the children's film|Rigoletto (film)|the film based on the original opera|Giuseppe Verdi's Rigoletto Story}} {{Verdi operas}} '''''Rigoletto''''' is an [[opera]] in three acts by [[Giuseppe Verdi]]. The Italian [[libretto]] was written by [[Francesco Maria Piave]] based on the play ''[[Le roi s'amuse]]'' by [[Victor Hugo]]. Despite serious initial problems with the Austrian censors who had control over northern Italian theatres at the time, the opera had a triumphant premiere at [[La Fenice]] in Venice on 11 March 1851. It is considered by many that he pooped in his pants during the opera to be the first of the operatic masterpieces of Verdi's middle-to-late career. Its tragic story revolves around the licentious Duke of Mantua, his hunch-backed [[court jester]] Rigoletto, and Rigoletto's beautiful daughter Gilda. The opera's original title, ''La maledizione'' (The Curse), refers to the curse placed on both the Duke and Rigoletto by a courtier whose daughter had been seduced by the Duke with Rigoletto's encouragement. The curse comes to fruition when Gilda likewise falls in love with the Duke and eventually sacrifices her life to save him from the assassins hired by her father. ==Composition history== [[File:Piave.jpg|thumb|left|upright=0.65|[[Francesco Maria Piave]], the librettist of ''Rigoletto'']] Verdi was commissioned to write a new opera by the [[La Fenice]] opera house in [[Venice]] in 1850. By this time he was already a well-known composer and had a degree of freedom in choosing the works he would prefer to set to music. He then asked [[Francesco Maria Piave]] (with whom he had already created ''[[Ernani]]'', ''[[I due Foscari]]'', ''[[Macbeth (opera)|Macbeth]]'', ''[[Il Corsaro]]'' and ''[[Stiffelio]]'') to examine the play ''Kean'' by [[Alexandre Dumas, père]], but he felt he needed a more energetic subject to work on.<ref name = "PM265">Phillips-Matz (1993) p. 265</ref> Verdi soon stumbled upon Victor Hugo's ''[[Le roi s'amuse]]''. He later explained that "The subject is grand, immense, and there is a character that is one of the greatest creations that the theatre can boast of, in any country and in all history."<ref name="VtoP1850">Verdi to Piave, 28 April 1850, in Phillips-Matz, p. 265</ref> It was a highly controversial subject, and Hugo himself had already had trouble with [[censorship]] in [[France]], which had banned productions of his play after its first performance nearly twenty years earlier (it would remain banned for another thirty years). As [[Austria]] [[History of Austria#The Nineteenth Century(1815-1918)|at that time]] directly [[History of Italy during foreign domination and the unification#Foreign domination (16th-18th centuries)|controlled much of Northern Italy]], it came before the Austrian Board of Censors. Hugo's play depicted a king ([[Francis I of France]]) as an immoral and cynical womanizer, something that was not accepted in Europe during the [[European Restoration|Restoration period]].<ref>Hugo (1863) pp. 163–164</ref> From the beginning, Verdi was aware of the risks, as was Piave. In a letter which Verdi wrote to Piave: "Use four legs, run through the town and find me an influential person who can obtain the permission for making ''Le Roi s'amuse''."<ref name="VtoP1850"/> Correspondence between a prudent Piave and an already committed Verdi followed, but the two underestimated the power and the intentions of Austrians and remained at risk. Even the friendly Guglielmo Brenna, secretary of La Fenice, who had promised them that they would not have problems with the censors, was wrong. At the beginning of the summer of 1850, rumours started to spread that Austrian censorship was going to forbid the production. The censors considered the Hugo work to verge on ''[[lèse majesté]]'' and would never permit such a scandalous work to be performed in Venice. In August, Verdi and Piave prudently retired to [[Busseto]], Verdi's hometown, to continue the composition and prepare a defensive scheme. They wrote to the theatre, assuring them that the censor's doubts about the morality of the work were not justified but since very little time was left, very little could be done. At the time, Piave and Verdi had titled the opera ''La maledizione'' (The Curse), and this unofficial title was used by Austrian censor De Gorzkowski in an emphatic letter written in December 1850 in which he definitively denied consent to its production, calling it "a repugnant [example of] immorality and obscene triviality."<ref>Phillips-Matz (1993) p. 270</ref> [[File:Rigoletto premiere poster.jpg|thumb|upright=1.5|[[La Fenice]]'s poster for the world premiere of ''Rigoletto'']] In order not to waste all their work, Piave tried to revise the libretto and was even able to pull from it another opera, ''Il Duca di Vendome'', in which the sovereign was with a duke and both the hunchback and the curse disappeared. Verdi was completely against this proposed solution and preferred instead to have direct negotiations with censors, arguing over each and every point of the work.<ref name = PM272>Phillips-Matz (1993) p. 272</ref> At this point, Brenna, La Fenice's secretary, showed the Austrians some letters and articles depicting the bad character but the great value of the artist, helping to mediate the dispute. By January 1851 the parties were able to agree that the action of the opera would be moved from the royal court of France to a duchy of France or Italy, and some of the characters would have to be renamed. In the new version the Duke reigns over [[Mantua]] and belongs to the [[House of Gonzaga|Gonzaga]] family. The House of Gonzaga had long been extinct by the mid-19th Century, and the Dukedom of Mantua no longer existed, thus no one could be offended. The scene in which the sovereign retires to Gilda's bedroom would be deleted and the visit of the Duke to the ''Taverna'' (inn) was no longer intentional, but provoked by a trick. The hunchback jester (originally called Triboulet) was renamed Rigoletto from a parody of Hugo's play, ''Rigoletti, ou Le dernier des fous'' (Rigoletti, or The last of the fools).<ref>"Rigolo" is a French word meaning "funny"</ref> By 14 January, the opera's definitive title had become ''Rigoletto''.<ref>Phillips-Matz (1993) p. 273</ref> Verdi finally completed the composition of the opera on 5 February 1851, a little more than a month before the premiere, although as he worked on the final stages of Act 3, Piave had already arranged for the sets to be designed. The singers were given some of their music to learn on 7 February. However, Verdi kept at least a third of the score at Busseto. He brought it with him when he arrived in Venice for the rehearsals on 19 February and would continue to refine the orchestration during the rehearsal period.<ref>Phillips-Matz (1993) pp. 278, 281, 283</ref> For the première, La Fenice had cast [[Felice Varesi]] as Rigoletto, the young tenor [[Raffaele Mirate]] as the Duke, and [[Teresa Brambilla]] as Gilda (although Verdi would have preferred [[Teresa De Giuli Borsi]]).<ref>Budden (1984) p. 482</ref> Due to the high risk of unauthorised copying, Verdi had demanded the maximum secrecy from all his singers and musicians. Mirate had use of his score only a few evenings before the première and had to swear that he would not sing or even whistle the tune of "La donna è mobile" except during the rehearsals.<ref>Downes (1918) p. 38</ref> == Performance history == [[File:Felice Varesi.jpg|thumb|upright=0.65|left|[[Felice Varesi]], the first Rigoletto]] '''19th Century productions''' ''Rigoletto'' premiered on 11 March 1851 in a sold-out La Fenice as the first part of a double bill with [[Giacomo Panizza]]'s ballet ''Faust''. Gaetano Mares conducted, and the sets were designed and executed by Giuseppe Bertoja and Francesco Bagnara.<ref>Casaglia (2005)</ref> The opening night was a complete triumph, especially the ''scena drammatica'' and the Duke's cynical [[aria]], "[[La donna è mobile]]", which was sung in the streets the next morning<ref name="Downes">Downes (1918) pp. 38–39</ref> (Verdi had maximised the aria's impact by only revealing it to the cast and orchestra a few hours before the premiere, and forbidding them to sing, whistle or even think of the melody outside of the theatre).<ref name="Downes"/><ref>{{cite web|last=Rahim|first=Sameer|title=The opera novice: Rigoletto by Giuseppe Verdi|url=http://www.telegraph.co.uk/culture/music/opera/9183265/The-opera-novice-Rigoletto-by-Giuseppe-Verdi.html|publisher=''The Daily Telegraph'' (London) 3 April 2012|accessdate=9 March 2013}}</ref> Many years later, Giulia Cora Varesi, the daughter of Felice Varesi (the original Rigoletto), described her father's performance at the premiere. Varesi was very uncomfortable with the false hump he had to wear; he was so uncertain that, even though he was quite an experienced singer, he had a panic attack when it was his turn to enter the stage. Verdi immediately realised he was paralysed and roughly pushed him on the stage, so he appeared with a clumsy tumble. The audience, thinking it was an intentional gag, was very amused.<ref>Kimbell (1985) p. 279</ref> ''Rigoletto'' was a great box-office success for La Fenice and Verdi's first major Italian triumph since the 1847 premiere of ''[[Macbeth (opera)|Macbeth]]'' in Florence. It initially had a run of 13 performances and was revived in Venice the following year, and again in 1854. Despite a rather disastrous production in [[Bergamo]] shortly after its initial run at La Fenice, the opera soon entered the repertory of Italian theatres. By 1852, it had premiered in all the major cities of Italy, although sometimes under different titles due to the vagaries of censorship (e.g. as ''Viscardello'', ''Lionello'', and ''Clara de Perth'').<ref>The opera was performed as ''Viscardello'' in Bologna and as both ''Lionello'' and ''Clara de Perth'' in Naples.</ref> From 1852, it also began to be performed in major cities worldwide, reaching as far afield as [[Alexandria]] and [[Constantinople]] in 1854 and both [[Montevideo]] and [[Havana]] in 1855. The UK premiere took place on 14 May 1853 at what is now the [[Royal Opera House]], Covent Garden in London with [[Giovanni Matteo Mario]] as the Duke of Mantua and [[Giorgio Ronconi]] as Rigoletto. In the US, the opera was first seen on 19 February 1855 at New York's [[Academy of Music (New York City)|Academy of Music]].<ref>David Kimbell in Holden (2001) p. 991</ref><ref>Casaglia 2005, p. ??; Phillips-Matz (1993) p. 286</ref> '''20th Century and beyond''' In modern times, it has become a staple of the standard operatic repertoire. It appears as number 9 (with 395 performances) on the [[Operabase]] list of the most-performed operas worldwide between 2008/2009 and 2012/13 seasons, and was also the 9th most frequently performed opera in Italy during that period.<ref>{{cite web |title= Opera Statistics |url= http://operabase.com/top.cgi?lang=en#opera |publisher= Operabase |accessdate=28 July 2013}}</ref> Several modern productions have radically changed the original setting. These include [[Jonathan Miller]]'s 1982 production for the [[English National Opera]], which is set amongst the [[Mafia]] in New York City's [[Little Italy, Manhattan|Little Italy]] during the 1950s; [[Doris Dorrie]]'s 2005 production for the [[Bavarian State Opera]], where the Court of Mantua became [[Planet of the Apes (1968 film)|The Planet of the Apes]]; and [[Michael Mayer (director)|Michael Mayer]]'s 2013 production for the [[Metropolitan Opera]], which is set in a casino in 1960's [[Las Vegas Valley|Las Vegas]]. Different characters portray different archetypes from the [[Rat Pack]] era, with the Duke becoming a [[Frank Sinatra]]-type character and Rigoletto becoming [[Don Rickles]].<ref>Loomis (2 June 2005); O'Connor (23 February 1989)</ref> == Roles == [[File:Rigoletto premiere costumes for the Duke and Gilda.jpg|thumb|Costumes for the Duke of Mantua and Gilda published by [[Casa Ricordi]] shortly after the 1851 premiere]] {| class="wikitable" !Role !Voice type !Premiere cast,<br>11 March 1851<ref>List of singers taken from Budden (1984) p. 476. See also [[San Diego Opera]] [http://www.sdopera.com/Operapaedia/Rigoletto Operapaedia&nbsp;– Rigoletto (Cast)]</ref><br>(Conductor: Gaetano Mares) |- |Rigoletto, ''the Duke's jester'' |[[baritone]] |[[Felice Varesi]] |- |Gilda, ''his daughter'' |[[soprano]] |[[Teresa Brambilla]] |- |Duke of Mantua |[[tenor]] |[[Raffaele Mirate]] |- |Sparafucile, ''an assassin'' |[[bass (vocal range)|bass]] |Paolo Damini |- |Maddalena, ''his sister'' |[[mezzo-soprano]] |Annetta Casaloni |- |Giovanna, ''Gilda's Nurse'' |[[mezzo-soprano]] |Laura Saini |- |Count Ceprano |bass |[[Andrea Bellini]] |- |Countess Ceprano, ''his wife'' |mezzo-soprano |Luigia Morselli |- |Matteo Borsa, ''a courtier'' |tenor |Angelo Zuliani |- |Count Monterone |baritone |Feliciano Ponz |- |Marullo |baritone |Francesco De Kunnerth |- |A Court Usher |bass |Giovanni Rizzi |- |A Page |mezzo-soprano | |- | colspan="3"|'' Male Chorus: towns people'' |} == Synopsis == :Place: [[Mantua]] :Time: the Sixteenth century<ref>The synopsis is based Melitz (1913) with updated English for clarity.</ref> === Act 1 === ''Scene 1: A room in the palace'' At a ball in his palace,<ref>Description in the [http://www.giuseppeverdi.it/stampabile.asp?IDCategoria=162&IDSezione=581&ID=19903 original libretto]: ''Sala magnifica nel palazzo ducale, con porte nel fondo che mettono ad altre sale, pure splendidamente illuminate. Folla di Cavalieri e Dame che passeggiano nelle sale del fondo&nbsp;– Paggi che vanno e vengono&nbsp;– Nelle sale in fondo si vedrà ballare. Da una delle sale vengono parlando fra loro il Duca e Borsa.'' / English translation: "A magnificent room in the ducal palace, with doors at the back which give onto other rooms, also splendidly illuminated. A crowd of lords and ladies stroll about in the rear rooms&nbsp;– [[Page (occupation)|pages]] come and go&nbsp;– in the rooms at the back people can be seen dancing. The Duke and Borsa come out of one of the rooms conversing with each other."</ref> 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, and advises the Duke to get rid of them by prison or death. Marullo, one of the guests at the ball, informs the noblemen that Rigoletto has a "lover", and the noblemen cannot believe it. The noblemen resolve to take vengeance on Rigoletto. Subsequently Rigoletto mocks Count Monterone, whose daughter the Duke had seduced. Count Monterone is arrested at the Duke's order and curses the Duke and Rigoletto. The curse genuinely terrifies Rigoletto. [[File:Rigoletto premiere stage set for Act 1, Scene 2.jpg|thumb|upright=1.2|Act 1, Scene 2 stage set by Giuseppe Bertoja for the world premiere of ''Rigoletto'']] ''Scene 2: A street, with the courtyard of Rigoletto's house'' Thinking of the curse, Rigoletto approaches his house and is accosted by the assassin Sparafucile, who walks up to him and offers his services. Rigoletto considers the proposition but finally declines; 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, a preoccupied Rigoletto returns: "Riedo!... perché?" ("I've returned!... why?"), while the hostile noblemen outside the walled garden (believing Gilda to be the jester's mistress, unaware she is his daughter) get ready to abduct the helpless girl. Convincing Rigoletto that they are actually abducting the Countess Ceprano, they blindfold him and use him to help with the abduction: "Zitti, zitti" ("Softly, softly"). With her father's unknowing assistance Gilda is carried away by the noblemen. Upon realizing that it was in fact Gilda who was carried away, Rigoletto collapses, remembering the 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 noblemen then enter and inform him that they have captured Rigoletto's mistress. 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 nobleman beat him. Gilda rushes in and begs her father to send the people away. The men 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 demands 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'' {{listen |title="La donna è mobile" |filename=La Donna E Mobile Rigoletto.ogg |description=[[Enrico Caruso]] singing "La donna è mobile". Circa 1906. }} {{listen |title="Bella figlia dell'amore" |filename=Enrico Caruso, Bessie Abott, Louise Homer, Antonio Scotti, Giuseppe Verdi, Bella figlia dell' amore (Rigoletto).ogg |description=[[Enrico Caruso]], [[Bessie Abott]], [[Louise Homer]] and [[Antonio Scotti]]'s 1907 [[Victor Records]] recording }} A portion of Sparafucile's house is seen, with two rooms open to the view of the audience. Rigoletto and Gilda, who still loves the Duke, 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 money, and offers him 20 [[scudi]] to kill the Duke. He orders his daughter 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 determines to remain in the house. Sparafucile assigns to him the ground floor sleeping quarters. Gilda, who still loves the Duke despite knowing him to be unfaithful, returns dressed as a man. She overhears Maddalena begging for the Duke's life, and Sparafucile promises her that if by midnight another can be found in place of the Duke, he will spare the Duke's life. Gilda resolves to sacrifice herself for the Duke and enters the house. She is immediately mortally wounded and collapses. 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 singing a reprise of his "La donna è mobile" aria. Bewildered, Rigoletto opens the sack and, to his despair, discovers his mortally wounded 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's wildest fear materializes when he cries out in horror: "La maledizione!" ("The curse!") ==Instrumentation== The orchestra calls for 2 [[flute]]s (Flute 2 doubles [[piccolo]]), 2 [[oboe]]s (Oboe 2 doubles [[English horn]]), 2 [[clarinet]]s, 2 [[bassoon]]s, 4 [[horn (instrument)|horns]] in Eb, D, C, Ab, G, and F, 2 [[trumpet]]s in C, D, and Eb, 3 [[trombone]]s, [[cimbasso]], [[timpani]], [[bass drum]] and [[cymbals]], [[String section|strings]]. *Offstage: [[Banda (opera)|Banda]], [[bass drum]], 2 [[Bell (instrument)|bells]], thunder machine *Onstage: [[Violin]]s I and II, [[viola]]s, and [[contrabass]]es ==Music== [[Musicologist]] [[Julian Budden]] regards the opera as "revolutionary", just as [[Beethoven]]' ''[[Symphony No. 3 (Beethoven)|Eroica]]'' Symphony was: "the barriers between formal melody and recitative are down as never before. In the whole opera, there is only one conventional double aria [...and there are...] no concerted act finales."<ref name="BUDD483">Budden, pp. 483–487</ref> Verdi used that same word – "revolutionary" – in a letter to Piave,<ref>Verdi to Piave, October 1854, in Budden, p. 484</ref> and Budden also refers to a letter which Verdi wrote in 1852 in which the composer states that "I conceived ''Rigoletto'' almost without arias, without finales but only an unending string of duets."<ref>Verdi to Borsi, in Budden, p. 483</ref> Budden's conclusions about this opera and its place in Verdi's output is summed up by noting that: :Just after 1850 at the age of 38 Verdi closed the door on a period of Italian opera with ''Rigoletto''. The so-called ''ottocento'' in music is finished. Verdi will continue to draw on certain of its forms for the next few operas, but in a totally new spirit.<ref>Budden, p. 510</ref> == Recordings and adaptations == [[File:Enrico Caruso - The Theatre.jpg|thumb|left|upright=0.7|[[Enrico Caruso|Caruso]] as the Duke of Mantua. Arias from ''Rigoletto'' were amongst his earliest recordings.]] {{main|Rigoletto discography}} There have been dozens of commercial recordings of ''Rigoletto''. The earliest ones include the 1912 performance in French with [[François Ruhlmann]] conducting the orchestra and chorus of the [[Opéra Comique]] ([[Pathé]]) and the 1916 performance in Italian with Lorenzo Molajoli conducting the orchestra and chorus of [[La Scala]] ([[Columbia Records]]). The first LP edition was released by [[RCA Victor]] in 1950 conducted by [[Renato Cellini]] and featured [[Leonard Warren]] in the title role. The opera has also been recorded in German with [[Wilhelm Schüchter]] conducting the orchestra and chorus of the [[Berlin State Opera]] in a 1953 recording for [[EMI Records]] and in English with [[Mark Elder]] conducting the orchestra and chorus of the [[English National Opera]] in a 1983 recording for EMI. In the 21st century there have been several live performances released on DVD including a 2001 performance from London's [[Royal Opera House]] with [[Paolo Gavanelli]] as Rigoletto and [[Marcelo Álvarez]] as the Duke (BBC/Opus Arte) and a 2006 performance at the [[Opernhaus Zürich]] with [[Leo Nucci]] as Rigoletto and [[Piotr Beczala]] as The Duke (ArtHaus Musik).<ref name = "OD">[http://www.operadis-opera-discography.org.uk/CLVERIGO.HTM Rigoletto Discography] on operadis-opera-discography.org.uk. Retrieved 20 April 2012.</ref> The Duke of Mantua's arias, particularly "[[La donna è mobile]]" and "Questa e quella", have long been showcases for the tenor voice and appear on numerous recital discs. Amongst [[Enrico Caruso]]'s earliest recordings are both these arias, recorded with piano accompaniment in 1903 and again in 1906 with a full orchestra.<ref>Martin (2011) p. 211.</ref> [[Luciano Pavarotti]], who has recorded the arias for several recital discs, also sings The Duke on three complete studio recordings of the opera: [[Decca Records|Decca]] (1972) conducted by [[Richard Bonynge]]; Decca (1989) conducted by [[Riccardo Chailly]]; and [[Deutsche Grammophon]] (1993) conducted by [[James Levine]].<ref name = "OD" /> ''Rigoletto'' has been a popular subject for movies since the silent era, some of which (such as the 1993 children's film ''[[Rigoletto (film)|Rigoletto]]'') are based on the opera's plot, but do not use Verdi's music. Curtiss Clayton's 2003 film ''[[Rick (film)|Rick]]'', set in modern day New York, has a plot based on ''Rigoletto'', but apart from "La donna è mobile" heard in the background during a restaurant scene, does not include any other music from the opera. In the 21st century, the opera was filmed as ''Rigoletto Story'' directed by [[Vittorio Sgarbi]] with costumes by [[Vivienne Westwood]]. First screened at the [[Venice Biennale]] in 2004, it subsequently received two [[Grammy]] nominations. In September 2010, [[RAI]] television filmed the opera on location in Mantua with the court scenes taking place in the [[Palazzo del Te|Palazzo Te]]. The film faithfully followed Verdi's original specification for the action to take place over two days, and each act was performed at the time of day indicated in the libretto. Broadcast live to 148 countries, the film starred [[Plácido Domingo]] in the title role, and [[Vittorio Grigolo]] as The Duke.<ref>Ozorio (8 September 2010)</ref> Adaptations of the opera's music include [[Franz Liszt]]'s ''[[List of compositions by Franz Liszt (S.351–S.999)#Verdi|Rigoletto Paraphrase]]'', a [[piano transcription]] of "Bella figlia dell'amore" (the famous quartet from Act 3) and a [[Fantasia (music)|Fantasia]] on ''Rigoletto'' (Op.82) by [[Sigismond Thalberg]] which was published in Paris in the 1860s. == References == '''Notes''' {{Reflist|30em}} '''Cited sources''' * [[Julian Budden|Budden, Julian]] (1984). ''The Operas of Verdi'', Volume 1: From ''Oberto'' to ''Rigoletto''. London: Cassell. ISBN 0-304-31058-1 * Casaglia, Gherardo (2005). [http://www.amadeusonline.net/almanacco.php?Start=0&Giorno=&Mese=&Anno=&Giornata=&Testo=Rigoletto&Parola=Stringa "Rigoletto"]. Almanacco Amadeus. Retrieved 20 April 2012 {{it}}. * Downes, Olin (1918), [http://books.google.co.uk/books?id=dc2U6MjW5nAC&printsec=frontcover ''The Lure of Music: Depicting the Human Side of Great Composers'']. New York: Harper & Brothers, 1918 *Kimbell, David (2001), in [[Amanda Holden (writer)|Holden, Amanda]] (Ed.), ''The New Penguin Opera Guide'', New York: Penguin Putnam, 2001. ISBN 0-140-29312-4 * Kimbell, David (1985), [http://books.google.co.uk/books?id=SWs7AAAAIAAJ&pg=PA278&dq=Giulia+Cora-Varesi+recalled+Rigoletto&hl=en&sa=X&ei=aRSQT-SpIoTR8gO6zMjHBA&sqi=2&ved=0CDEQ6AEwAA#v=onepage&q=Giulia%20Cora-Varesi%20recalled%20Rigoletto&f=false ''Verdi in the Age of Italian Romanticism'']. Cambridge: Cambridge University Press Archive. ISBN 0-521-31678-2 * Loomis, George (29 June 2005). [http://www.highbeam.com/doc/1P1-110558249.html "The Peter Jonas touch: A home for 'interpretive' opera in Munich"]. ''[[International Herald Tribune]]''. Retrieved 20 April 2012 {{subscription}}. * Martin, George W. (2011). [http://books.google.co.uk/books?id=vEYA8_RARL0C&pg=PA211&dq=Rigoletto+recording&hl=en&sa=X&ei=m1aST9mxKMXa8QPBnYzODA&ved=0CGwQ6AEwCA#v=onepage&q=Rigoletto%20recording&f=false ''Verdi in America: Oberto Through Rigoletto'']. Rochester: University of Rochester Press. ISBN 1-58046-388-6 * Melitz, Leo (1913) ''[http://archive.org/details/operagoerscomple00meliuoft The Opera Goer's Complete Guide]''. New York: Dodd, Mead * Ozorio, Anne (8 September 2010). [http://www.operatoday.com/content/2010/09/rigoletto_live_.php "Unique ''Rigoletto'' live from Mantua"]. Opera Today. Retrieved 20 April 2012. *[[Roger Parker|Parker, Roger]], "''Rigoletto''", in Stanley Sadie (ed.), ''The New Grove Dictionary of Opera'', Vol. Three. London: MacMillan Publishers, Inc. 1998. ISBN 0-333-73432-7, ISBN 1-56159-228-5. * [[Mary Jane Phillips-Matz|Phillips-Matz, Mary Jane]] (1993). ''Verdi: A Biography'', London & New York: Oxford University Press. ISBN 0-19-313204-4 '''Other sources''' *Baldini, Gabriele (1970) (trans. Roger Parker, 1980), ''The Story of Giuseppe Verdi: Oberto to Un Ballo in Maschera''. Cambridge, ''et al'': Cambridge University Press. ISBN 0-521-29712-5 *Chusid, Martin (ed.) (1997), ''Verdi’s Middle Period, 1849 to 1859'', Chicago and London: University of Chicago Press. ISBN 0-226-10658-6, ISBN 0-226-10659-4. *De Van, Gilles (trans. Gilda Roberts) (1998), ''Verdi’s Theater: Creating Drama Through Music''. Chicago & London: University of Chicago Press. ISBN 0-226-14369-4 (hardback), ISBN 0-226-14370-8 *[[Philip Gossett|Gossett, Philip]] (2006), ''Divas and Scholar: Performing Italian Opera'', Chicago: University of Chicago Press. ISBN 0-226-30482-5 * Hugo, Adèle (1863). [http://books.google.co.uk/books?id=P3NBAAAAIAAJ&dq=le+roi+s%27amuse&pg=PA163&redir_esc=y#v=onepage&q=le%20roi%20s'amuse&f=false ''Victor Hugo''] (translated by Charles Edwin Wilbour). New York: Carleton *Martin, George, '' Verdi: His Music, Life and Times'' (1983), New York: Dodd, Mead and Company. ISBN 0-396-08196-7 * O'Connor, John (23 February 1989). [http://www.nytimes.com/1989/02/23/arts/review-television-jonathan-miller-s-mafia-rigoletto.html?pagewanted=print&src=pm "Jonathan Miller's Mafia 'Rigoletto'"]. ''[[New York Times]]''. Retrieved 20 April 2012. *[[Charles Osborne (music writer)|Osborne, Charles]] (1969), ''The Complete Opera of Verdi'', New York: Da Capo Press, Inc. ISBN 0-306-80072-1 *[[Roger Parker|Parker, Roger]] (2007), ''The New Grove Guide to Verdi and His Operas'', Oxford & New York: Oxford University Press. ISBN 978-0-19-53134-7 *Pistone, Danièle (1995), ''Nineteenth-Century Italian Opera: From Rossini to Puccini'', Portland, OR: Amadeus Press. ISBN 0-931340-82-9 *[[Francis Toye|Toye, Francis]] (1931), ''Giuseppe Verdi: His Life and Works'', New York: Knopf *Walker, Frank, ''The Man Verdi'' (1982), New York: Knopf, 1962, Chicago: University of Chicago Press. ISBN 0-226-87132-0 *Warrack, John and West, Ewan, ''The Oxford Dictionary of Opera'' New York: OUP: 1992 ISBN 0-19-869164-5 *[[Franz Werfel|Werfel, Franz]] and [[Paul Stefan|Stefan, Paul]] (1973), ''Verdi: The Man and His Letters'', New York, Vienna House. ISBN 0844300888 == External links == *[http://www.giuseppeverdi.it/visInglese/page.asp?IDCategoria=3648&IDSezione=24876&ID=466439 Verdi: "The story" and "History"] on giuseppeverdi.it * {{IMSLP2|id=Rigoletto (Verdi, Giuseppe)|cname=''Rigoletto''}} * [http://www.dlib.indiana.edu/variations/scores/bhr8278/large/index.html ''Rigoletto'' piano vocal score] from [[Indiana University (Bloomington)|Indiana University]]'s [http://www.dlib.indiana.edu/variations/scores/scores.html Online Opera Scores Database] * [http://archive.org/details/rigoletto00verd Libretto] in the original Italian and in English translation * [http://www.uctv.tv/search-details.asp?showID=5760 San Diego OperaTalk! with Nick Reveles: Verdi's ''Rigoletto''] (video) * [http://www.imdb.com/find?q=Rigoletto&s=all ''Rigoletto''] at the [[Internet Movie Database]] {{Giuseppe Verdi|state =collapsed}} [[Category:1851 operas]] [[Category:Italian-language operas]] [[Category:Operas]] [[Category:Operas by Giuseppe Verdi]] [[Category:Operas set in Italy]] [[Category:La Fenice world premieres]] [[Category:Operas based on plays]] [[Category:Adaptations of works by Victor Hugo]] {{Link FA|de}}'