L'Italo-Americano

THURSDAY, SEPTEMBER 4, 2025 www.italoamericano.org 32 L'Italo-Americano T he curtain rises on a new season at the San Francis- co Opera with a fresh, and at times shocking, take on Giuseppe Verdi's tragic masterpiece, Rigoletto. This production promises to illuminate the d a r k h e a r t o f t h e o p e r a ' s themes of vengeance, sacri- fice, and a father's desperate love. It's a return to a classic that has been a cornerstone of the company's repertoire since its very early years. The first Rigoletto performance took place at La Fenice in Venice in March 1951, and got its first performance in the US four y e a r s l a t e r a t N e w Y o r k ' s Academy of Music. San Fran- cisco Opera has performed Rigoletto in 34 of its 102 pre- vious seasons, beginning with its inaugural season in 1923. That historic performance was conducted by Company founder Gaetano Merola a n d f e a t u r e d b a r i t o n e Giuseppe De Luca as Rigolet- to, tenor Beniamino Gigli a s t h e D u k e , a n d s o p r a n o Queena Mario as Gilda. L ' I t a l o A m e r i c a n o a t t e n d e d t h e l a s t d r e s s rehearsal before the grand opening on September 5. The production, directed by José María Condemi, features a cast of international stars, w i t h M o n g o l i a n b a r i t o n e Amartuvshin Enkhbat in the title role, Romanian soprano Adela Zaharia as Gilda, and tenor Yongzhao Yu making his house debut as the Duke of Mantua. Music Director Eun Sun Kim, celebrated for bringing "tonal muscle and stylistic variety" to her Verdi performances, adds Rigoletto to her ongoing project of con- ducting major works by Verdi and Richard Wagner each season in San Francisco. Announcing the new sea- son just a few months ago, General Director Matthew Shilvock could not help but share his excitement: "Bring- ing two epic new productions to life simultaneously is an incredible affirmation of the Company's talents across so many disciplines and of the c o m m u n i t y ' s s u p p o r t f o r large-scale creativity. A new Parsifal is a major undertak- ing for any opera company, and to be doing it with the leadership of Eun Sun Kim and Matthew Ozawa promis- es to be a sublime experience. With The Monkey King and Dead Man Walking, we cele- brate the Company's historic commitment to storytelling that makes a difference. And the whole season is filled with artistry that affirms the Bay Area as one of the great cul- tural centers of the world. I'm very excited for what lies ahead!" This commitment to new works is a cornerstone of the c o m p a n y ' s i d e n t i t y . T h e 2025-26 season continues this legacy with the world premiere of the new opera, The Monkey King, and an anniversary revival of a past c o m m i s s i o n , D e a d M a n W a l k i n g . S a n F r a n c i s c o Opera has long been a home for new operas, a tradition beginning in the 1920s when Giacomo Puccini's then-new works Il Trittico and Turan- dot were featured. This dedi- cation to expanding the oper- atic repertoire is highlighted by more than 30 new com- missions and co-commis- sions. Back to this season, the story of Rigoletto is a dramat- ic and brutal one. The opera's name itself has a lot of signif- i c a n c e : a d a p t e d f r o m t h e F r e n c h w o r d r i g o l e r , i t means "to laugh." In Victor H u g o ' s o r i g i n a l p l a y , t h e jester was called Triboulet, the name of King Francis I's actual jester. However, the character's name had to be changed to gain approval from censors, who deemed the opera threatening. The censors felt that portraying a king as a degenerate woman- izer and a jester as a complex, sympathetic protagonist was a direct assault on the dignity of the monarchy. By chang- ing the Duke to a nameless figure, Verdi and his libret- tist, Francesco Maria Piave, were able to bypass the cen- sors and bring their master- piece to the stage. The tragic tale revolves a r o u n d t h e h u n c h b a c k e d jester, a man who uses his c r u e l w i t t o s u r v i v e i n a morally corrupt court. Rigo- letto's life takes a dark turn when his wisecracks earn him a curse. Underneath the caustic barbs, Rigoletto is d e v o t e d t o h i s d a u g h t e r , Gilda, whom he keeps shield- ed from the Duke's womaniz- ing ways. But destiny has other plans. The Duke falls for and seduces Gilda, push- ing Rigoletto to a breaking point. Blinded by rage, the j e s t e r p l o t s h i s r e v e n g e against the Duke, but his plan goes horribly wrong, fulfilling the curse in a devastating final act that proves Rigoletto will not have the last laugh. A c c l a i m e d M o n g o l i a n b a r i t o n e , A m a r t u v s h i n Enkhbat, plays Rigoletto, recalling the deep, personal connection to the role. His journey with the character began in his youth, sparked by a DVD and cemented by a voice teacher in his native Mongolia. At the young age of 25, he performed the com- plete role for the first time and has since sung the part over 120 times, highlighting his vocal power and technical p r e c i s i o n . H e c r e d i t s h i s longevity in the role to his early start and his dedication to studying past masters like Ettore Bastianini and Leo Nucci. He approaches the role with a blend of tradition and personal integrity, refus- ing to force his voice for dra- matic effect. "My singing is my singing, and if I must alter it to 'fit' the role better, then maybe that role isn't for me," Enkhbat stated, a phi- losophy that has made him one of the most sought-after Verdi baritones of his genera- tion. While he acknowledges Rigoletto's cruel side, he also sees the character's humanity and his desperate struggle to survive in a chaotic court. He connects with the role on a poignant level as a man near- ing the age where he could have a daughter of Gilda's age, allowing him to portray the character with great care and sensitivity. The new San Francisco Opera Season officially opens on Friday, September 5, with the Opera Ball, a benefit co- presented by San Francisco Opera and the San Francisco Opera Guild. The elegant evening begins with dinner at the stunning San Francisco City Hall before guests attend the Rigoletto premiere at the War Memorial Opera House. The celebration continues with dancing and bites back at City Hall. The event is made possible by Opening W e e k e n d G r a n d S p o n s o r Diane B. Wilsey and is co- chaired by Jennifer Bienaimé and Isabel Rhee. Proceeds support the company's artis- tic initiatives and the Guild's education programs, which reach thousands of students. Young professionals and opera lovers can also ring in t h e n e w s e a s o n a t t h e BRAVO! Ball, hosted by the BRAVO CLUB!. The opening weekend concludes on Sun- day, September 7, with the 50th anniversary presenta- tion of Opera in the Park. This free and popular annual event will feature Eun Sun Kim leading the San Francis- co Opera Orchestra and stars from the fall season in a cele- bratory program at Robin Williams Meadow in Golden Gate Park. SERENA PERFETTO Back to the beginning: Rigoletto opens San Francisco opera's 2025/26 season Yongzhao Yu as the Duke of Mantua and Amartuvshin Enkhbat as Rigoletto (Photo: Cory Weaver/San Francisco Opera) SAN FRANCISCO ITALIAN COMMUNITY

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