The San Francisco Opera, one of the big American houses that has exhibited commendable fiscal resourcefulness while maintaining its artistic standards, selected a conservative opener for its 90th season with a revival of its de Chirico-inspired production of Rigoletto. During these tough economic times, trotting out an old warhorse, by itself, is no strategy for the long-view, but the company introduced a twist to get the most out of Verdi's tale of vengeance. The opera will be staged in a stagione-style block throughout the month while other works will rotate in a repertory schedule beginning in October.
Four straight weeks of Rigoletto with performances often on consecutive nights, of course, necessitate two casts to share the principal roles. I heard the second cast and, in terms of singing, it would be unfair to call these performers as a whole second-stringers or the "B cast." In fact, there were some opulent voices on display, especially in the cases of Gilda (Albina Shagimuratova) and Rigoletto (Marco Vratogna), but what this cast had in voice found little complement in dramatic verisimilitude. Chemistry—that mysterious component that can make a strong performance an unforgettable one—was also in short supply and the opera's many smashing duets utterly failed to engage on a dramatic level. The crucial relationship between Rigoletto and his daughter Gilda played like one of those golden-era cliches: two singers holding one another by the arms and singing divinely at each other. Since 2006, the phrase "park and bark" has been one of the most overused and crass stereotypes applied to opera, but, sadly, it was a justifiably apt tag for this performance. With many performances still ahead for this cast to acclimatize to the production and each other, I assume this aspect will improve as the run progresses.
In opera, however, the music comes first and we were fortunate to have so vocally accomplished a Gilda as Shagimuratova. The soprano, who made her debut with the company only a few months ago as an outstanding Queen of the Night (The Magic Flute), approached Verdi's innocent heroine with a similar emphasis on sedentary delivery. Gifted with a voice of tremendous size and power, she exhibited considerable control of it, at times tapering to a lovely pianissimo that drew me forward in my chair to hear the secure, pretty tone. Though the stage business during "Caro nome" is always problematic, Shagimuratova's unconvincing physical deportment of standing, sitting on a box, and lying on her back, was easily overshadowed by her beautifully sustained vocalism.