This revival of Pierre Audi’s 2014 production beckoned with the promise of a new interpreter in the pit and a leading baritone presenting his first Vienna Rigoletto.

Adding this “heavyweight” to his roster of Verdi parts, Christopher Maltman brings all the assets of a finely-tuned Lieder interpreter (with the technical prowess to manoeuvre between the lightest of “head” tones through compellingly-dramatic outbursts), plus acute musicianship and intellect to the challenge - while yet lacking the sheer substance of a true Italianate Verdi baritone to fully clinch the deal. With little sense of physical disability or playing the buffoon to any great degree, this Rigoletto comes across as a weary and embittered outsider at court, jostling with his adversaries and indeed, isolated from Gilda to a degree that sapped their lyrical moments in duet (other than in the finale) of a certain warmth and sentiment. Rigoletto’s big numbers were well-moulded and paced - albeit, with "Si vendetta tremenda vendetta" appearing the ultimate challenge of the evening, and a borderline one at that. In all, a notable achievement - if one scoring at a cerebral rather than visceral level. 

Joseph Calleja’s Duke of Mantua boasts a bold and dapper presence but with a stand-and-deliver approach and focus on vocal production quite unconducive to creating a credible or involving stage figure. Vocally he regularly achieved an initial impact in set pieces, often finely phrased and intoned, but sadly failing in their climaxes - where ill-focused or unreliable high B-flats or B’s simply capitulated to the score’s demands. 

The remaining cast accords laurels to the management in a well-established ensemble of the highest level.   

Andrea Carroll was not originally scheduled for this series, but proved an excellent choice as Gilda, with her effortless bell-like soprano underscoring a natural and charming stage demeanour ideally suited to the part. Fine intonation, acutely-placed glissandi, and solidly-executed trills largely offset a delivery which was just a touch monochrome in this, her first Gilda in the house.

In fine form, Jongmin Park’s resolute Sparafucile complimented 
Nadia Krasteva’s voluptuous Maddalena, while both Igor Onishchenko (Marullo) and Leonardo Navarro (Borsa) made an impact in these additions to their house repertoire. Margaret Plummer and Alexandru Moisiuc too made much of their opportunities as Giovanna and Monterone.

Conductor Giampaolo Bisanti augmented last year’s Macbeth and Un Ballo in Maschera with his first Rigoletto in the house - stylish, conservative in tempi, with crisply-transparent choral scenes, and (despite minor irregularities between pit and stage) well nailing an evening of great impact.