Giuseppe Verdi - Rigoletto (Opera in three acts with Juan Diego Flórez)-English subtitles

From the Semperoper Dresden, 2008 Outstanding production by Nikolaus Lehnhoff with the Sächsische Staatskapelle Dresden under the baton of Fabio Luisi. 

English subtitles available in the player. 

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Fabio Luisi - conductor

 Nikolaus Lehnhoff - stage director 

Juan Diego Flórez - The Duke of Mantua 

Željko Lučić - Rigoletto 

Diana Damrau - Gilda 

Markus Marquardt - Count Monterone 

 Chapters:  

0:00 Giuseppe Verdi - Rigoletto  

1:05 Overture  

3:31 Act. I 

 1:00:45 Act. II

 1:34:07 Act. III 

International stars like Juan Diego Flórez and Diana Damrau directed by the chief conductor Fabio Luisi. 

This opera production demonstrates a convincing and highly qualified musical standard.

 A wonderfully timeless event, which took place in the marvelous atmosphere of Dresden’s Semperoper.

Ριγκολέττο - Βικιπαίδεια

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Verdi: Rigoletto/Damrau, Florez DVD

Review by: ClassicsToday.com

Artistic Quality: 9

Sound Quality: 10

Opera never has shown its contrasts more than in this Rigoletto from the Sächsische Staatskapelle in Dresden. The production is full of harsh conflicts, which Verdi himself implies by filling this tragedy with so much cheery music. All of the performances here are outstanding. Željko Lučić vanquishes the title role with his powerful voice and emotive acting, which makes him riveting if slightly painful to watch as he is emotionally destroyed. Juan Diego Flórez has one of the best tenor voices currently in opera, and though he has now stopped singing the Duke, it is not because he could not fill the role. His voice is as agile and pure as ever, but still powerful enough to hold his own against the rest of the cast. His interpretation of the Duke is delightfully lecherous, but also shows signs of truly deeper emotion during his Act 2 aria.

Diana Damrau certainly has the voice for Gilda, but she’s not quite convincing as a young girl. Georg Zeppenfeld is a callous Sparafucile, but sympathetic to Maddalena, his sister. His voice is smooth and without any push for his high notes. The ensemble is superb: the choral diction is clear, with well-measured dynamics and precise cut-offs; and the dancers stand out, with eye-catching animal-like physicality in the opening scene. Under Fabio Luisi the orchestra plays with what might be called sarcasm through the happy music, and with heart-rending, moaning intensity through the sad.

The modern minimalist aesthetic of the production is brutally effective. The minimal sets, mostly consisting of blank walls contrasted with the boldly-colored costumes, highlight the on-stage activity. The court scenes feature some riotous action, making for some “fun” moments (if you can apply that term to Rigoletto), but when Gilda appears the stage becomes less busy. The most remarkable part of the production is how well all the pieces come together to form the whole–the lighting strengthening the sets, the sets highlighting the costumes, and all of it supporting the action on stage.