Rigoletto is one of those works that you can enjoy a thousand times without getting tired. It is one of the most prominent operas of Verdi, with well-known and beautiful passages and an argument that attracts the public. The story of a gibose trying to protect his daughter from a presumed desperate curse is still in force today, despite the excessive drama and complexity of some parts of history.

The version we were able to see and hear in the Kursaal was simple, represented, but with the limitations typical of a not very large scenario and also shared with the orchestra behind it. Actually, mise en scène were a few scenographic elements to support the action. But all the weight of the show was taken by the vocal performances and expressiveness of the singers, who from the theatrical point of view could do little in such a small space.

However, it cannot be deduced from the above that the spectacle was worthless or poor. Quite the opposite. The public got caught up in history, without looking at the distorting elements, which were not really there, and also was fascinated by the excellent voices that we could hear.

The Portuguese tenor settled in London, Luis Gomes, in the role of Duca di Mantova, showed his clear and safe needles, and although at some times the nasal voice was revealing a phrasing of great beauty and firmness. Questa or quella arian spoke with great expression and simplicity, and the famous La donna é mobile came with freshness.

The Hungarian baritone Gyula Nagy, in the role of Rigoletto, demonstrated his ability to speak and interpret the character convincingly. He was a great actor.

But the star that stood out most in the show was undoubtedly the Romanian soprano Letitia Vitelaru. He offered a wonderful interpretation of Gilda's character, full of naivety and sweetness. And he captivated the audience in the realm of the voice, with its ease in all records and, above all, with its crystal acutes.

Both Excelentia Vocal Ensemble and the Classical Orchestra of Santa Cecilia were always at the point, under the direction of Gregorz Nowak.