That's all gone now, replaced by a beefed-up sound reminiscent of weightlifting and steroids. It's striking to think back to this tenor's company debut a mere six years ago and remember when his voice had some bloom and color to it. When he interrupted his Act 1 duet with Gilda on hearing a suspicious noise outside the house, Robertson looked like a man who has suddenly remembered where he left his reading glasses.Īs the Duke, Frank Lopardo gave the most thuggish reading imaginable, an unpleasant combination of dramatic crudeness and thickset vocalism. Worse yet, Robertson seemed vague and distracted the entire time, turning one of opera's most vivid characters into a dramatic blank. His baritone is grainy and technically insecure, without much color or heft he capped an unmemorable rendition of the great "Cortigiani!" monologue by singing the entire last section out of tune. "Caro nome" lacked some of the pinpoint precision that Ruth Ann Swenson brought to it earlier this fall, but compensated with a sense of tragic irony her rich-toned account of "Tutte le feste" in Act 2 was heartrending.īut at the center of the opera there was only a void, in the form of Christopher Robertson's blandly inconsequential rendition of the title role. #Sf opera rigoletto fullDevinu's voice is full and secure, if a little uneven in color from one register to the next, and she invested the role with its full emotional weight.
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