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Rigoletto Tickets

» Home    » Florence Opera Theatre    » Rigoletto
 
 
Rigoletto

Venue: Opera di Firenze

 
Opera di Firenze
Viale Fratelli Rosselli, 7
Firenze
 
All dates
Season 2019
 

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Next performance (see season calendar above for other dates)
Rigoletto
Sat 16 November 2019
Stalls 1
Hour Hall Price Tickets Buy
20:00 Teatro del Maggio 100 € Add to cart
 
Stalls 2
Hour Hall Price Tickets Buy
20:00 Teatro del Maggio 80 € Add to cart
 
Stalls 3
Hour Hall Price Tickets Buy
20:00 Teatro del Maggio 65 € Add to cart
 
Stalls 4
Hour Hall Price Tickets Buy
20:00 Teatro del Maggio 50 € Add to cart
 
 
Rigoletto
Tue 19 November 2019
Stalls 1
Hour Hall Price Tickets Buy
20:00 Teatro del Maggio 100 € Add to cart
 
Stalls 2
Hour Hall Price Tickets Buy
20:00 Teatro del Maggio 80 € Add to cart
 
Stalls 3
Hour Hall Price Tickets Buy
20:00 Teatro del Maggio 65 € Add to cart
 
Stalls 4
Hour Hall Price Tickets Buy
20:00 Teatro del Maggio 50 € Add to cart
 
 
Rigoletto
Thu 21 November 2019
Stalls 1
Hour Hall Price Tickets Buy
20:00 Teatro del Maggio 100 € Add to cart
 
Stalls 2
Hour Hall Price Tickets Buy
20:00 Teatro del Maggio 80 € Add to cart
 
Stalls 3
Hour Hall Price Tickets Buy
20:00 Teatro del Maggio 65 € Add to cart
 
Stalls 4
Hour Hall Price Tickets Buy
20:00 Teatro del Maggio 50 € Add to cart
 
 
 
Event details
 
Composer: Giuseppe Verdi

Synopsis

    Place: Mantua
    Time: the Sixteenth century

Act 1

Scene 1: A room in the palace
 

At a ball in his palace,[24] the Duke sings of a life of pleasure with as many women as possible: "Questa o quella" ("This woman or that"). He has seen an unknown beauty in church and desires to possess her, but he also wishes to seduce the Countess of Ceprano. Rigoletto, the Duke's hunchbacked court jester, mocks the husbands of the ladies to whom the Duke is paying attention, and advises the Duke to get rid of them by prison or death. Marullo, one of the guests at the ball, informs the noblemen that Rigoletto has a "lover", and the noblemen cannot believe it. The noblemen resolve to take vengeance on Rigoletto. Subsequently Rigoletto mocks Count Monterone, whose daughter the Duke had seduced. Count Monterone is arrested at the Duke's order and curses the Duke and Rigoletto. The curse genuinely terrifies Rigoletto.
 

Scene 2: A street, with the courtyard of Rigoletto's house

Thinking of the curse, Rigoletto approaches his house and is accosted by the assassin Sparafucile, who walks up to him and offers his services. Rigoletto considers the proposition but finally declines; Sparafucile wanders off, after repeating his own name a few times. Rigoletto contemplates the similarities between the two of them: "Pari siamo!" ("We are alike!"); Sparafucile kills men with his sword, and Rigoletto uses "a tongue of malice" to stab his victims. Rigoletto opens a door in the wall and returns home to his daughter Gilda. They greet each other warmly: "Figlia!" "Mio padre!" ("Daughter!" "My father!"). Rigoletto has been concealing his daughter from the Duke and the rest of the city, and she does not know her father's occupation. Since he has forbidden her to appear in public, she has been nowhere except to church and does not even know her own father's name.

When Rigoletto has gone, the Duke appears and overhears Gilda confess to her nurse Giovanna that she feels guilty for not having told her father about a young man she had met at the church. She says that she fell in love with him, but that she would love him even more if he were a student and poor. As she declares her love, the Duke enters, overjoyed. Gilda, alarmed, calls for Giovanna, unaware that the Duke had sent her away. Pretending to be a student, the Duke convinces Gilda of his love: "È il sol dell'anima" ("Love is the sunshine of the soul"). When she asks for his name, he hesitantly calls himself Gualtier Maldè. Hearing sounds and fearing that her father has returned, Gilda sends the Duke away after they quickly trade vows of love: "Addio, addio" ("Farewell, farewell"). Alone, Gilda meditates on her love for the Duke, whom she believes is a student: "Gualtier Maldè!... Caro nome" ("Dearest name").

Later, a preoccupied Rigoletto returns: "Riedo!... perché?" ("I've returned!... why?"), while the hostile noblemen outside the walled garden (believing Gilda to be the jester's mistress, unaware she is his daughter) get ready to abduct the helpless girl. Convincing Rigoletto that they are actually abducting the Countess Ceprano, they blindfold him and use him to help with the abduction: "Zitti, zitti" ("Softly, softly"). With her father's unknowing assistance Gilda is carried away by the noblemen. Upon realizing that it was in fact Gilda who was carried away, Rigoletto collapses, remembering the curse.

 

Act 2

The Duke's Palace

The Duke is concerned that Gilda has disappeared: "Ella mi fu rapita!" ("She was stolen from me!") and "Parmi veder le lagrime" ("I seem to see tears"). The noblemen then enter and inform him that they have captured Rigoletto's mistress. By their description, he recognizes it to be Gilda and rushes off to the room where she is held: "Possente amor mi chiama" ("Mighty love beckons me"). Pleased by the Duke's strange excitement, the courtiers now make sport with Rigoletto, who enters singing. He tries to find Gilda by pretending to be uncaring, as he fears she may fall into the hands of the Duke. Finally, he admits that he is in fact seeking his daughter and asks the courtiers to return her to him: "Cortigiani, vil razza dannata" ("Accursed race of courtiers"). Rigoletto attempts to run into the room in which Gilda is being held, but the noblemen beat him. Gilda rushes in and begs her father to send the people away. The men leave the room, believing Rigoletto has gone mad. Gilda describes to her father what has happened to her in the palace: "Tutte le feste al tempio" ("On all the blessed days"). In a duet Rigoletto demands vengeance against the Duke, while Gilda pleads for her lover: "Sì! Vendetta, tremenda vendetta!" ("Yes! Revenge, terrible revenge!").

Act 3

A street outside Sparafucile's house
A portion of Sparafucile's house is seen, with two rooms open to the view of the audience. Rigoletto and Gilda, who still loves the Duke, arrive outside. The Duke's voice can be heard singing "La donna è mobile" ("Woman is fickle"), laying out the infidelity and fickle nature of women. Rigoletto makes Gilda realize that it is the Duke who is in the assassin's house attempting to seduce Sparafucile's sister, Maddalena: "Bella figlia dell’amore" ("Beautiful daughter of love").

Rigoletto bargains with the assassin, who is ready to murder his guest for money, and offers him 20 scudi to kill the Duke. He orders his daughter to put on a man's clothes to prepare to leave for Verona and states that he plans to follow later. With falling darkness, a thunderstorm approaches and the Duke determines to remain in the house. Sparafucile assigns to him the ground floor sleeping quarters.

Gilda, who still loves the Duke despite knowing him to be unfaithful, returns dressed as a man. She overhears Maddalena begging for the Duke's life, and Sparafucile promises her that if by midnight another can be found in place of the Duke, he will spare the Duke's life. Gilda resolves to sacrifice herself for the Duke and enters the house. She is immediately mortally wounded and collapses.

At midnight, when Rigoletto arrives with money, he receives a corpse wrapped in a sack, and rejoices in his triumph. Weighting it with stones, he is about to cast the sack into the river when he hears the voice of the Duke singing a reprise of his "La donna è mobile" aria. Bewildered, Rigoletto opens the sack and, to his despair, discovers his mortally wounded daughter. For a moment, she revives and declares she is glad to die for her beloved: "V'ho ingannato" ("Father, I deceived you"). She dies in his arms. Rigoletto's wildest fear materializes when he cries out in horror: "La maledizione!" ("The curse!")

 
Program details
 

Conductor: Fabio Luisi
Director: Francesco Micheli
Choir director: Lorenzo Fratini
Orchestra e Coro del Maggio Musicale Fiorentino


Duca di Mantova: Ivan Ayon Rivas
Gilda: Jessica Nuccio
Sparafucile: Giorgio Giuseppini

 

Saturday 16 November 2019 - Wednesday 27 November 2019


Conductor: Riccardo Palumbo
Director: Francesco Micheli
Scenes: Federica Parolini
Costumes: Alessio Rosati
Light Designer: Daniele Naldi


Duca di Mantova: Giuseppe Gipali
Rigoletto: Enkhbat Amartushvin
Sparafucile: Abramo Rosalen
Maddalena: Anna Malavasi
Il Conte di Monterone: Gianfranco Montrésor
Orchestra and Choir of the Maggio Musicale Fiorentino
Choir Director: Lorenzo Fratini

 
Venue
 
Opera di Firenze
 

The project for the new Opera di Firenze was realised on a part of the city that, until now, was marginal, which today hosts important and prestigious public institutions. The area provided for its construction is along the line that separates the Florence  "green" (the Cascine park starts precisely from via Fratelli Roselli), from the historical and central part of Florence. In this way the project plays a delicate integration role between the different parts of the city. This ambitious objective was achieved through the realization of a vast system of open areas that are pedestrian accessable and at various points link up, putting in process the new spaces for the two auditoriums and outdoor cavea. The system of the artificial stage, established from the building's accessable roofing, connects with that natural of the Cascine through an inclined pedestrian level that south west crosses the Macinante channel.  The grouping together of these spaces and locations expressly dedicated to music, describes a site of great urban and scenic value, a system of terraces and open spaces bluntly "Tuscan", destined to unite town planning, architectural and visual with the immediate surrounding buildings and the entire city of Florence.


 

On a local context scale, the new project is designed to realise a large European class cultural complex, the Park of Music and Culture, containing the auditorium's awe inspiring spaces and services connected with the important pre-existing Leopolda, even to establish a new urban centrality dedicated to cultural and musical activities, giving at the same time response to a functional set up and a symbolic complex.

 

On an architectural scale, the project is designed to guarantee the best attributes of a first class musical complex, through a performance range of extreme distinction and absolute excellence at the opera and concert level, from chamber to rock, in a flexible and multi-purpose complex with multiple potential.

 

The principal design is inspired by an architectural clarity: a sort of large platform, an inclined plinth where the two large halls music are inserted and the enigmatic volume of the tower. A project that presents a majestic massività, moderated by the existence of a dense network of internal and external paths consisting of ramps, terraces and enclosed spaces, that, dimensioned on a human scale, returns the project to the architectural scale conformity. All the internal public spaces are serviced from the sweeping foyer, which is accessable through the area below the  large urban projecting roof or, coming from Parco delle Cascine, through the glass wall underneath the inclined space of the large hall.

 

The cavea is able to contain more than 2,000 spectators. It is positioned on the theatre's roof, an integration and conclusion of the extended system of squares, terraces and lookouts. Its usage however is not only relegated to the temporary nature of performances, but is extended throughout the entire day, seasons and year. Its terraces of "stone" are designed as real and actual "urban living rooms", alternated with sections treated to small gardens, offering a use continuous and free to the public. The adjoining bar-cafeteria-restaurant complex supports the structure's function adapted to an 'en plein air' lifestyle.  The cavea's location at the base of the large tower's mass also provides additional structural functionality, finding on the large wall above a vast surface for projections, able to sustain any large spectacular event.

 

The large hall of 1,800 seats is contained inside an inclined stereo-metric space, intergrated within the inclined ascending floor.

 

The form adopted is "horseshoe", traditional but innovative in its design influence, contained between the two  perimiteral distribution bands of stairs and ramps, that ensure a distribution function and contribute to the detachment of the walls from the casing, for an improved acoustic output.

 

The realization of the new Opera House fitted out with the most innovative and technical scenery equipment and the endowment of a modern and efficient auditorium established for the city of Florence, the indispensable premise of belonging to the international circuit of cultured music, be it for the performance of classical and contemporary music, where Italy has historically held undisputed supremacy. The shape of the hall is conceived, as for a musical instrument, with the objective to ensure the best acoustic result.

 

The hall's arrangement includes a broad stalls area, directly accessible from the foyer, and only a single balcony level, accessible from the distribution system along the hall. In the two lateral portions, obtained from the continuation of the balcony level towards the stage, there are boxes, with a small area located behind for the reception of guests.

 

The stage, conforming in shape and dimensions to international standards, is designed to accommodate at the centre of the stage the performance and in the two side pockets, up to two stagings ready to be moved during the intervals. The handling of the scenery occurs horizontally through the use of mobile platforms that are mounted on trolleys.

 

Another unique aspect of the new Opera House of Florence comes from the stage's dimensional flexibility, that can accommodate theatrical performances with a stage depth double that permitted by traditional Italian and European theaters.

 

In the new project we are systematically striving to overcome the false dialectic between antique and new, between classic and modern, in the belief that architecture can reconquer the debate with context and history, beyond styles, through the ability to recontextualise work through materials, colours and textures. The Cipollino marble that covers the volumes of the new theatrical complex; the baked enamel of the great "urban lantern" of the tower; the gold used for the curved walls of the large and majestic foyer are all materials, textures and colours belonging to the historical tradition of Medician architecture.


THEATRE SPACES 

 

SPACE FOR THEATRICAL ACTIVITIES  - 21186.09 sqm

PUBLIC SPACE  - 13301.60 sqm

DEPOSITS - 2198.58 sqm

OFFICES - 2711.32 sqm

ROOMS TECHNICAL - 5651.50 sqm

UNDERGROUND PARKING - sqm 1.2394,0

NET TOTAL SURFACE - 57443.09 sqm

THEATRE OPERA - total room capacity: 1800 seats

Stage "T" surface - 2,624 sqm
Main Stage - 416 sqm
Proscenium - 18x12 - 14x8
Orchestra pit 45 sqm - 108-150

AUDITORIUM - capacity: 1100 seats

OUTDOOR CAVEA  - capacity : 2000 seats

Overall volume mc. 360,000

 
 
LATEST NEWS
Buy now opera,ballet and classical concerts tickets at famous theaters in Europe
 
Tickets Booking for famous theaters in Europe. Concerts and classic concerts tickets. Buy online tickets for opera and ballet events at Vienna State Opera, Teatro la Fenice, OPERA GARNIER and OPERA BASTILLE in Paris, etc.