Metropolitan Opera 2021-22 Review: Rigoletto
Great Italian Conducting
“In the pit, Daniele Rustioni led the Met orchestra in what I can confidently call the best conducting of an Italian opera at the Met in 2021-22. And it’s not even close unfortunately.
Rustioni led the music with agency and added an extra level of drama with his attention to detail. The prelude began with harrowing tremolos and extended chords that foreshadowed the impending tragedy. Then in the first concertante, Rustioni gave the orchestra a driving tempo that also allowed the soloists to shine. The cello soloist in the first exchange between Rigoletto and Sparafucile was commendable for his portamenti and lush tone. The “Addio” was filled with tension and drive while in the “Caro Nome,” the winds accompanied Feola beautifully.
In the “Cortigianni vil raza danata,” Rustioni emphasized the violin runs with sforzandos without ever exaggerating the attacks. The cello solo during the aria was also a great accompaniment, emphasizing the lament in Verdi’s music. The tempo was also measured and controlled but also dramatic and there was also a sense of moving the music and drama forward.
In the “Si vendetta” duet, Rustioni was always present with the singer but added an extra level of excitement with the resonant violin ostinatos. In the final duet “Lassù in cielo, vicino alla madre …,” he pulled out the violin line to create a balance between the dark string colors and the heavenly flute line. In all, it was conducting at its finest without any mannerisms or exaggerations.
…Ultimately, this “Rigoletto” was defined by a fantastic cast cast brought together by vibrant musicality of Rustioni.”
Operawire, Francisco Salazar