REVIEW: Rigoletto (NBR NZ Opera)

Decadence, drama and death [by Sharu Delilkan]

Sparafucile (Ashraf Sewailam) in his element threatening Maddalena (Kristin Darragh) Photo by Neil Mackenzie

As I walked into the newly renovated ASB Theatre at the Aotea Centre it was impossible not to notice that the carpets had been replaced by the bright parquet flooring and new seats. The light and airy feel gave the theatre the added bit of cheer, which was much needed on an otherwise dull and dreary Auckland evening.

But of course the most dramatic and notable change was the installation of acoustic panels, which proved to be a massive improvement and embellished the opera’s brilliance. And the theatricality of the entire production of NBR NZ Opera’s Rigoletto also complemented the newly fitted theatre, in keeping with their interpretation of the classic opera set in modern day Italy.

Italian romantic composer Giuseppe Verdi’s timeless heart-breaking tale of love and deception that premièred in 1851 translates perfectly to the era of Silvio Berlusconi, supporting NBR New Zealand Opera’s policy of bringing old war horses to life again.