‘relaxed performance of Rigoletto offers a sensitive and considered introduction to opera for allcomers’
Opera North’s relaxed performance of Rigoletto offers a sensitive and considered introduction to opera for allcomers whilst the action keeps everyone on the edge of their seats in this revival of Femi Elufowoju jr’s African-influenced interpretation of Giuseppe Verdi’s 1851 masterpiece although I’m still not sure about the zebra.
The Duke of Mantua (Thomas Elwin) leads his courtiers in drinking and debauchery whilst his jester, Rigoletto (Siphe Kwani) mocks all those around. The arrival of Count Monterone (Blaise Malaba) in a failed attempt to save his daughter results in a curse on the Duke and Rigoletto.
Rigoletto is tormented by the curse, and we discover he has a daughter, Gilda (Yolisa Ngwexana) whom he jealously guards, but the Duke has already spied and fallen for her – or has he? The courtiers have also tired of Rigoletto’s antics at court and under the steer of Borsa (Joseph Buckmaster) and Marullo (Christian Joel), they trick him before carrying Gilda off to the palace.
Rigoletto arrives desperate to save his daughter from ruin and we are treated to a beautiful moment of reconciliation between them. When Monterone appears and retracts his curse on the Duke, Rigoletto assures him it will still come to fruition when he seeks revenge.
Rigoletto engages assassin Sparafucile (Thomas D Hopkinson) with his sister, Maddalena (Indyana Schneider), used as a lure for the Duke so that Gilda may see the true behaviour of the man she believes she loves. Dramatic gestures abound as we hurtle towards a tragic end in the powerful and moving final act.
Rae Smith’s simple staging was effective with an initial monochrome effect quickly giving way to an explosion of richness and colour in set, costume, and lighting as we entered the residence of the Duke, before a managed decline as we progressed through the acts cleverly echoing the main character’s fall. The set within a picture frame concept works well and is clearly well suited to this venue; hopefully it will travel as well when the production tours.
The orchestra sprung into life from the off under conductor Patrick Lange and resonated strongly with the changing mood and emotions on stage with the wind writing particularly well played. There was some impressive choreography from Jackie Kibuka, with the abduction sequence in Act II and its subsequent retelling in Act III an absolute delight, with input from fight and intimacy director Alison de Burgh, whilst the freeze frame in the opening scene was equally well considered.
The bright cast brought energy and enthusiasm to production with Elwin performing strongly throughout with good characterisation and an impressive vocal, particularly his Act III ‘La donna è mobile’.
Kwani was equally impressive with a good stage presence and a performance that really got under the skin of his character and brought his humanity to the fore. Ngwexana personified both the innocent child and damaged young woman, although her vocal was somewhat mixed with a tendency to occasionally stray off key.
Malaba performed with real aplomb demonstrating both power and presence, whilst Hopkinson was impressively ruthless with a strong vocal; his Act IV aria with Schneider and Ngwexana combined impressively with Howard Hudson’s lighting array and the power of the orchestra to deliver some real thunder.
A special mention for Buckmaster and Joel who deserve credit for cleverly capturing the guile and cunning of their respective characters balanced with good comic acting and fine vocals. Further solid support came from other cast members including Molly Barker-Knowles, Ross McInroy, Helen Évora, James Davies, and Laura Kelly.
Rigoletto is one of Opera North’s current touring productions, full details at https://www.operanorth.co.uk/whats-on
Reviewer: Mark Davoren
Review Date: 21st October 2026
Star Rating: FOUR