Jealousy drama in a world of appearances
An evil macho society reigns at the court of Mantua. The duke passes his boredom with countless amorous adventures and the humiliation of his subordinates. Rigoletto, the court jester, plays his cynical jokes. But when his daughter Gilda is targeted by the Duke, Rigoletto's world collapses. After 'Don Carlos', director Vincent Huguet and conductor Michele Spotti devote themselves to another masterpiece by Giuseppe Verdi. French star designer Pierre Yovanovitch creates the stage set.
Together with the dramaturgy, Basel's Kulturhaus Bider & Tanner has curated the book table for our plays for many years. Now this selection of books, CDs, DVDs, catalogues or even sheet music can be accessed at any time in the online shop. It's worth browsing regularly.
For selected opera performances there are now two exclusive seats in the orchestra pit. Observe the interplay between conductor and musicians and experience the orchestral sound at close quarters.
- From the third performance onwards for all performances of 'Rigoletto'.
- CHF 100.
- Registration: email@example.com, +41 (0)61 295 11 33
- Herzog von Mantua –
- Rigoletto, sein Hofnarr –
- Gilda –
- Giovanna, Gildas Gesellschafterin –
- Graf von Monterone –
- Graf Ceprano –
- Gräfin Ceprano –
- Marullo, ein Kavalier –
- Borsa, ein Höfling –
- Sparafucile, ein Mörder –
- Maddalena –
- Ein Gerichtsdiener –
- Chor des Theater Basel
- Sinfonieorchester Basel
- Statisterie Theater Basel
Regula Mühlemann is a fantastic singer and she is still getting better. Her soprano sometimes shimmers like dark sand or sometimes like brightly shining sunshine, she masters all technical demands with bravura. (...) Rarely has one experienced a singing ensemble of such high quality. All the voices are outstanding and wonderfully in tune with each other.
Rigoletto' is a feast for lovers of radiant tenor voices (Herzog), graceful youthful soprano (Gilda) and robust baritone (Rigoletto). In the new Basel production of the two-and-a-half-hour opera, there is another reason to listen closely: the chorus. (...) . In all its functions, the Basel Theatre Choir shines with clarity of intonation, sharpness of diction and acting agility. Chapeau!
Whether breathless lapses in the strings, springy chords in the brass, intimate melodies in the woodwinds - the orchestra becomes the powerhouse and emotional amplifier of this drama. And achieves a pull that carries everything away.
Not only Regula Mühlemann's voice is brilliant, also the way she creates Gilda as a character, actually lives this role and sets it in varied contrasts to her father Rigoletto. (...) The protagonists are supported by a nuanced playing of the Basel Symphony Orchestra and an impulsive choir of the Theater Basel under the direction of Michele Spotti, which models every single scene in the finest way and makes it sound like a little treasure.
Regula Mühlemann is able to achieve a precision landing with the intimate staging by Vincent Huguet and the congenial stage design by Pierre Yovanovitch. It certainly helps that the other soloists, above all Nikoloz Lagvilava as the impetuous anti-hero, are all on a par both vocally and as actors.