Great choice! I’m no Muti-type purist, but when Rigoletto is done without cuts and unwritten high notes that break up the action, it plays just like a well-edited film. The transition from “La donna è mobile” to the quartet is such a beautiful fade/scene change. This opera in particular really showcases Verdi’s keen dramatic instincts.
Rigoletto is an opera noir. Maybe Eddie Muller could do the introduction or outro. Mantova is an homme fatal. There are full of crazy obsessed characters including Gilda and there’s NO character that one can project oneself onto. And the music is livery, catchy and fits to the story. I like the zitti zitti chorus of the abduction scene.
Wonderful. Verdi is my favorite composer and Otello is my favorite opera, but I appreciate and understand your selection of Rigoletto. In addition to all the points you made, I think it is one of those works that appeals to both the expert and the beginner. The music is brilliant, yet attractive and accessible to the novice. And the major characters are powerfully compelling. Of course, Verdi's illustration of the father/daughter relationship was never so touchingly presented
I was a bit surprised at the choice, but pleased nevertheless. Rigoletto was the first Verdi work I saw many years ago when the Met traveled by train to our fair city and performed a week of glorious opera in a convention hall. No matter. With a cast that included Leonard Warren, Roberta Peters, Jussi Bjoerling it could have been performed in old Macdonald's barn and still have sounded splendid. No second string cast here! Jussi chasing Maddalena around his dinner table just before the quartet showed that the great tenor had some athletic prowess.
Yes! Rigoletto. I saw the opera at La Fenice some years ago, with Maestro Chung in the pit. Of, the memoriess... Glorious. Dinner afterward in the rstaurant next to the opera house. Glorious, too.
@@bigalfactotum9935 - I agree. I have downloaded that one onto my phone and have watched it again. I might not agree with all the choices, but it provides an excellent overview.
@@bigalfactotum9935 - I agree. I have downloaded that one onto my phone and have watched it again. I might not agree with all the choices, but it provides an excellent overview.
I agree completely. Verdi has maybe better (or more complex) operas, but Rigoletto is the best example of an Italian opera. It has everything that happened before (the second act starts with a perfect recitativo + aria + cabaletta), and everything that would happen afterwards. And formally and dramatically it's perfect.
Your last sentence is so true. It's something I could actually feel the first time I finally saw it on stage, complemented by a similarly evocative yet economical set by Michael Yeargen. It has none of the dramatic complications and excesses for which so much opera, including many of Verdi's own, is notorious.
Interesting choice, Dave. I love other Verdi operas, especially Macbeth, Il trovatore (more for its score than its plot), and Falstaff. However, if I had to pick one, it would have to be Don Carlo(s), simply because it has a plot which I think is still very relevant in our day and age.
I think that Rigoletto alongside Traviata is also extremely important is because it is when he really starts to begin to move beyond bel canto. Up to that point, I think his operas could be described as bigger and brassier bel canto operas, structurally-speaking. With Rigoletto and Traviata, the remnants of recit-aria-cabaletta are still there, but he’s starting to break them down and move away from them. Also, I think the quality of his music generally really shoots up and becomes distinctively his between Luisa and Rigoletto, wonderful as some of those earlier pieces might be. (Macbeth as we know it today is unequivocally great, but only because he later revised it with Boito.)
Simon Boccanegra was revised with Boito but Macbeth wasn't. Macbeth was revised in Paris in 1865. But now I'm almost thinking the revised Bocanegra is the one to save!
@@ER1CwC you are so right. I have the earlier version complete along with lots of the later version. Just compare the wonderful and atmospheric La Luce langue in the later version with the trashy showpiece Triofai from the earler
Completely agreed. Didn't know about your video on Mahler and Verdi. Must see it. I know Mahler's quotation ( at least I think it's a quotation) of Mascagni's Cavalleria Rusticana in "Songs of a Wayfarer." He'd been conducting it a lot when he wrote the cycle. It's at the tail end of the third song. Same music as the section in Cav when the ladies of the town are whisking Lola away before things get too heated.
Yes! The one opera that cross generations. My Dad heard this in Budapest aged 19 as part of the workers concerts and made a very strong impression on him. I always found the father daughter tragedy so moving and unexpected (spoiler alert). We must not forget these great pieces of theatre are new to those yet to see them. Bravo
An eloquent explanation of your choice and Verdi in general. For Nielsen, I would suggest symphony #3 “Expansiva”. Many will no doubt opt for 5 because of its gritty hard won triumph or 4 (because those tympani and gritty hard won triumph). Those are undoubtedly powerful masterpieces, but the third is Nielsen for every day, music that reflects his robust optimism, personal melodic style and tonal leanings. The climax in the first movement in 3/4 time is exhilarating and the wordless vocalists in the “pastorale” movement idyllic. Altogether typical and lovely.
I haven’t noticed anyone suggesting Il Trovatore as their top choice. Probably the ridiculous plot…but when it comes to melodic inspiration and lively dramatic moments, I’d say it’s top drawer. Not my first Verdi choice either but definitely worth an honourable mention.
Certainly, Verdi's breakthrough opera and innovative for its time (the chorus representing the moaning of the wind is positively avant-garde.) But yet still not representative of his future and overall achievement. That's why I would still opt for the Manzoni Requiem. Von Bulow meant it snidely, but it may well be Verdi's greatest opera and splendidly so. We get both the highest expression he'd achieved in Aida as well as encompassing so much of the Otello to come. If the Requiem takes two cds, it's an album on which we can add the short but magnificent and moving Te Deum. Or, who knows, Toscanini's white hot, incendiary performance of the Rigoletto last act. Nothing wrong with trying to slip a little something over on the demon. Jirka and Kate manage it neatly in Dvorak's opera.
Yes! That ballet music is fabulous--even better than that of Aida, which is saying something. This late addition, along with Falstaff, shows that Verdi's musical mind was still incredibly fertile at his advanced age. I wonder how he would have wanted to retire from composing.
No. It’s great ballet music but comes dramatically at the worst time in the plot. Iago and Otello have decided to kill Cassio and Desdemona, Otello is at his breaking point and has to welcome the ambassadors and then. EVERYTHING STOPS for a pretty ballet. Dramatically it’s a disaster
@@jaykauffman4775 I totally agree with you. Also, I don’t think that ballets were really Verdi’s thing. Be they from Vespri, Otello, Don Carlo, Trovatore, Macbeth, etc. (Paris versions), they are never on the same level as the rest of the music.
Oh no, you are going to upset the Traviata-people. Rigoletto was my gut choice, Aida was the one bet you would select. Rigoletto was the first opera I fell in love with. We had a radio programme on Sunday evenings and the presenter had a thing for Callas and Gobbi - we heard “Figlia, mio padre” once every 3 months! As a teenager we had the Pavarotti/Gruberova one on TV - and saw the damn thing so many times, I can watch it in my head. We really are spoiled for choice - and can you imagine how poorer we would have been, had he stopped composing after the death of his first wife and children.
The work that sold me once and for all on Italian opera. While musically I might prefer the requiem (I still get chills as the kyrie drags me into hell), it’s hard to beat the psychological complexity of the main triad of characters and the ridiculous wealth of catchy tunes here. Seeing it at the met last year was a truly splendid experience. Also, are you all done with the top 10 insiders’ lists? Been eagerly awaiting the next installment!
@@DavesClassicalGuide We are looking very much forward to when you 'get box-xit done'! But no stress - or, maybe, more precisely put: no extra stress, as it is sufficiently ennerving in itself to have one's life boxed up!
Missa da Requiem. Italian opera in liturgical garb. All the big tunes and vocal spectacles are there!
Great choice! I’m no Muti-type purist, but when Rigoletto is done without cuts and unwritten high notes that break up the action, it plays just like a well-edited film. The transition from “La donna è mobile” to the quartet is such a beautiful fade/scene change. This opera in particular really showcases Verdi’s keen dramatic instincts.
Rigoletto is an opera noir. Maybe Eddie Muller could do the introduction or outro. Mantova is an homme fatal. There are full of crazy obsessed characters including Gilda and there’s NO character that one can project oneself onto. And the music is livery, catchy and fits to the story. I like the zitti zitti chorus of the abduction scene.
Wonderful. Verdi is my favorite composer and Otello is my favorite opera, but I appreciate and understand your selection of Rigoletto. In addition to all the points you made, I think it is one of those works that appeals to both the expert and the beginner. The music is brilliant, yet attractive and accessible to the novice. And the major characters are powerfully compelling. Of course, Verdi's illustration of the father/daughter relationship was never so touchingly presented
I was a bit surprised at the choice, but pleased nevertheless.
Rigoletto was the first Verdi work I saw many years ago when the Met traveled by train to our fair city and performed a week of glorious opera in a convention hall.
No matter. With a cast that included Leonard Warren, Roberta Peters, Jussi Bjoerling it could have been performed in old Macdonald's barn and still have sounded splendid.
No second string cast here!
Jussi chasing Maddalena around his dinner table just before the quartet showed that the great tenor had some athletic prowess.
Yes! Rigoletto. I saw the opera at La Fenice some years ago, with Maestro Chung in the pit. Of, the memoriess... Glorious. Dinner afterward in the rstaurant next to the opera house. Glorious, too.
Rigoletto was my introduction to opera, on the radio, with Jan Peerce and Nadine Connor.
Rigoletto is one of my favourite operas, not only by Verdi. The storm scene and the stabbing might just be the most powerful scene in all operas.
What a wonderful explanation. Dave, I hope you’ll do more Verdi in the future.😊
Yes, like “The 5 Traviatas you have to own”. Can you imagine the carnage, if there is no Callas on the list!
@@bigalfactotum9935 - I agree. I have downloaded that one onto my phone and have watched it again. I might not agree with all the choices, but it provides an excellent overview.
@@bigalfactotum9935 - I agree. I have downloaded that one onto my phone and have watched it again. I might not agree with all the choices, but it provides an excellent overview.
Falstaff for me, full of brilliant invention from beginning to end.
Fantastic! As a long-time opera enthusiast and Verdi fan, I appreciate your insightful analysis. Thanks for another excellent video.
Great choice. Having seen Trovatore, Traviata, Rigoletto, and Aida live, I think any of those would be a valid choice.
I agree completely. Verdi has maybe better (or more complex) operas, but Rigoletto is the best example of an Italian opera. It has everything that happened before (the second act starts with a perfect recitativo + aria + cabaletta), and everything that would happen afterwards. And formally and dramatically it's perfect.
Your last sentence is so true. It's something I could actually feel the first time I finally saw it on stage, complemented by a similarly evocative yet economical set by Michael Yeargen. It has none of the dramatic complications and excesses for which so much opera, including many of Verdi's own, is notorious.
And you can add high notes without appearing completely vulgar!
@@francoisjoubert6867 Although I hate sopranos that end the quartet with a high note. It's completely out of place.
Interesting choice, Dave. I love other Verdi operas, especially Macbeth, Il trovatore (more for its score than its plot), and Falstaff. However, if I had to pick one, it would have to be Don Carlo(s), simply because it has a plot which I think is still very relevant in our day and age.
Despite my deep love for Otello, I agree with you. There is no other choice .. Rigoletto
I think that Rigoletto alongside Traviata is also extremely important is because it is when he really starts to begin to move beyond bel canto. Up to that point, I think his operas could be described as bigger and brassier bel canto operas, structurally-speaking. With Rigoletto and Traviata, the remnants of recit-aria-cabaletta are still there, but he’s starting to break them down and move away from them. Also, I think the quality of his music generally really shoots up and becomes distinctively his between Luisa and Rigoletto, wonderful as some of those earlier pieces might be. (Macbeth as we know it today is unequivocally great, but only because he later revised it with Boito.)
Simon Boccanegra was revised with Boito but Macbeth wasn't. Macbeth was revised in Paris in 1865. But now I'm almost thinking the revised Bocanegra is the one to save!
@@bbailey7818 You’re right. Thank you! But the revisions still do make Macbeth much stronger, I think.
I don’t think Boito was involved with Macbeth
@@ER1CwC you are so right. I have the earlier version complete along with lots of the later version. Just compare the wonderful and atmospheric La Luce langue in the later version with the trashy showpiece Triofai from the earler
Completely agreed. Didn't know about your video on Mahler and Verdi. Must see it. I know Mahler's quotation ( at least I think it's a quotation) of Mascagni's Cavalleria Rusticana in "Songs of a Wayfarer." He'd been conducting it a lot when he wrote the cycle. It's at the tail end of the third song. Same music as the section in Cav when the ladies of the town are whisking Lola away before things get too heated.
Yes! The one opera that cross generations.
My Dad heard this in Budapest aged 19 as part of the workers concerts and made a very strong impression on him.
I always found the father daughter tragedy so moving and unexpected (spoiler alert).
We must not forget these great pieces of theatre are new to those yet to see them.
Bravo
An eloquent explanation of your choice and Verdi in general.
For Nielsen, I would suggest symphony #3 “Expansiva”. Many will no doubt opt for 5 because of its gritty hard won triumph or 4 (because those tympani and gritty hard won triumph). Those are undoubtedly powerful masterpieces, but the third is Nielsen for every day, music that reflects his robust optimism, personal melodic style and tonal leanings. The climax in the first movement in 3/4 time is exhilarating and the wordless vocalists in the “pastorale” movement idyllic. Altogether typical and lovely.
I haven’t noticed anyone suggesting Il Trovatore as their top choice. Probably the ridiculous plot…but when it comes to melodic inspiration and lively dramatic moments, I’d say it’s top drawer. Not my first Verdi choice either but definitely worth an honourable mention.
Certainly, Verdi's breakthrough opera and innovative for its time (the chorus representing the moaning of the wind is positively avant-garde.) But yet still not representative of his future and overall achievement. That's why I would still opt for the Manzoni Requiem. Von Bulow meant it snidely, but it may well be Verdi's greatest opera and splendidly so. We get both the highest expression he'd achieved in Aida as well as encompassing so much of the Otello to come.
If the Requiem takes two cds, it's an album on which we can add the short but magnificent and moving Te Deum. Or, who knows, Toscanini's white hot, incendiary performance of the Rigoletto last act. Nothing wrong with trying to slip a little something over on the demon. Jirka and Kate manage it neatly in Dvorak's opera.
Otello....WITH the Ballet Music.
Yes! That ballet music is fabulous--even better than that of Aida, which is saying something. This late addition, along with Falstaff, shows that Verdi's musical mind was still incredibly fertile at his advanced age. I wonder how he would have wanted to retire from composing.
No. It’s great ballet music but comes dramatically at the worst time in the plot. Iago and Otello have decided to kill Cassio and Desdemona, Otello is at his breaking point and has to welcome the ambassadors and then. EVERYTHING STOPS for a pretty ballet. Dramatically it’s a disaster
@@jaykauffman4775 Who cares? I’m in it for the wonderful music.
@@LyleFrancisDelp anyone who cares about drama (which defines opera) cares. That said I wouldn’t mind having it as an appendix to a recording
@@jaykauffman4775 I totally agree with you. Also, I don’t think that ballets were really Verdi’s thing. Be they from Vespri, Otello, Don Carlo, Trovatore, Macbeth, etc. (Paris versions), they are never on the same level as the rest of the music.
Oh no, you are going to upset the Traviata-people. Rigoletto was my gut choice, Aida was the one bet you would select. Rigoletto was the first opera I fell in love with. We had a radio programme on Sunday evenings and the presenter had a thing for Callas and Gobbi - we heard “Figlia, mio padre” once every 3 months! As a teenager we had the Pavarotti/Gruberova one on TV - and saw the damn thing so many times, I can watch it in my head. We really are spoiled for choice - and can you imagine how poorer we would have been, had he stopped composing after the death of his first wife and children.
You could not be implored to give us your favorite recordings of Cavalleria Rusticana by Mascagni, could you please?
Dave should have made the case for Verdi at the 2013 Wagner vs. Verdi debate hosted by Stephen Fry.
The work that sold me once and for all on Italian opera. While musically I might prefer the requiem (I still get chills as the kyrie drags me into hell), it’s hard to beat the psychological complexity of the main triad of characters and the ridiculous wealth of catchy tunes here. Seeing it at the met last year was a truly splendid experience. Also, are you all done with the top 10 insiders’ lists? Been eagerly awaiting the next installment!
No, not done at all. Just slowing down a bit because of my move and (temporarily) more limited access to my collection.
@@DavesClassicalGuide We are looking very much forward to when you 'get box-xit done'! But no stress - or, maybe, more precisely put: no extra stress, as it is sufficiently ennerving in itself to have one's life boxed up!
It's Otello or Falstaff, of course. The peaks of italian musical tragedy and comedy.
Of course.
This one's easy -and it's not an opera. It's THE Requiem.
"Falstaff", hands down. It's not even close in my book. I think "Don Carlos" is his best tragedy (or non-comedy, if you don't consider it tragic).