Debuts by two of this city’s favourite singers, Carlos Álvarez and Juan Diego Flórez (as Rigoletto and the Duke of Mantua respectively) were the arbor for this current revival of Pierre Audi's production.

In the title role, Álvarez brought his burnished, mellifluous tone and noble interpretation to one of Verdi’s great baritone challenges. His great forte lies in the role’s lyrical demands, spanning the score’s great arches with quite superb legato to underscore a line infused with emotion and impeccable Verdian style and unfailing dramatic focus. While absolutely adequate for the venue, this is not “big guns” vocalising of limitless power and range. Álvarez omits the optional high A-flat for example in Act 2’s closing cabaletta “Si, vendetta, tremenda vendetta…”, and earlier, in “Cortigiani, vil razza dannata” an extra touch of metal wouldn't have gone amiss. Nevertheless, this remains an imposing reading which was duly celebrated at the closing curtain.

Flórez has had numerous opportunities to test the Duke in other venues prior to Vienna, and indeed recent rumour indicated that the Peruvian tenor had in fact decided to now relinquish the role.
In any case, this occasion evidently found him in good vocal form, phrasing (as one would expect) elegantly, with his even-scaled tenore di grazia - and presenting a proud, witty, and rather nonchalant figure - almost pubescent in youthful vigour and prettiness.

Flórez’ instrument remains modest in substance, relying on the high proportion of overtones in his timbre to transport this all-too-precarious role into the house. In the set pieces a strained and rigid physique and desperately extraneous arm gestures exposed the extreme physical effort involved with increasing dynamic demands in the score. Oddly in Act 2’s cabaletta, “possente amor mi chiama” where he could (theoretically) have trumped with a high D, he chose not to. The Duke is notoriously difficult, and Flórez scored with his assets - and not least with his ranks of idolizing followers who vociferously expressed their support throughout the evening.

Returning to the house as Gilda, Olga Peretyatko brought great style, charm and sincerity to this revival. Most affecting was her sense of timing, and subtlety in shaping a phrase with pointed moment and clarion diction.  Oddly, occasional tightness is evident above the stave where one would expect more technical facility and lightness in approach.  Her closing E-flat in Act 2’s finale made it - but only just! However, this was somewhat insignificant within the overall context of this fine soprano’s performance. 

Ain Anger (Sparafucile) and Nadia Krasteva (Maddalena) were revetingly chilling in their opening scene with Rigoletto (she, simply in expression and body language - he, in his familiar cavernous tone and wonderfully sardonic mien). Both interpretations further developed as the evening progressed to rank as absolutely top-notch.

The supporting roles were all strongly taken - with special mention to Sorin Coliban’s raging Monterone.

Evelino Pidò’s successful debut in the house extends back to Spring of 2011.  Performances in interim years may have been variable, but on this occasion we were treated to gripping finesse and detail in phrasing, tempi, and dynamics - consciously supportive of his soloists in all respects, and with the Vienna State Opera Chorus and Orchestra in absolute pristine form.