Canadian Opera Company: Rigoletto. Johannes Debus, Conductor; Christopher Alden, Director; Michael Levine, Set & Costume Designer; Cast: Quinn Kelsey, Rigoletto; Sarah Dufresne; Gilda (January 24, 28, and February 6, 8); Andriana Chuchman, (February 10, 12, 14); Ben Bliss, Duke of Mantua; Peixin Chen, Sparafucile; Zoie Reams, Maddalena; Stephen Hegedus, Count Ceprano; Emily Rocha, Countess Ceprano. January 24, 2026, Four Seasons Centre for the Performing Arts. Continues (various dates) to February 14; tickets here.
The Canadian Opera Company delivered a visceral and powerful Rigoletto at Saturday’s opening night. The cast and orchestra were in superb form, delivering a performance with emotional depth.
Themes and Premise
Originally set in a Renaissance court, director Christopher Alden relocates the action to a Victorian-era gentlemen’s club, which he calls a “gaming room.” This is a world of cigars, wine, gambling, moral and sexual decadence.
The Duke of Mantua exploits and subjugates women while those in his privileged circle enable him and profit from the system. The room is all artifice and excess, and one cannot help but wonder what substance exists beneath the polished, burnished brass surface.
Rigoletto is a complex figure fraught with internal tension. Publicly, he is a jester whose job is to mock and entertain. Privately, he is a protective father to his daughter, Gilda. He seeks vengeance, but as fate would have it, he is handed unbearable loss. The existing power structures work against him. In the end, we are confronted with the absence of justice, and therein lies the tragedy.
Cast and Performance
The most memorable melodies from this opera are not always reserved for the title character, which makes it a demanding role requiring a depth of skills.
Quinn Kelsey, as Rigoletto, was simply outstanding. With both expressive acting and singing, he fully inhabited the psychology of the character. The great Act II aria, “Cortigiani, vil razza dannata” (Courtiers, vile damned race) an emotional peak of the opera, was delivered with raw intensity as he lashes out at the courtiers and expresses his anguish over his daughter’s fate.
As Gilda, Sarah Dufresne was an absolute standout. She is an exceptionally expressive singer, capable of sublime pianissimos and a beautiful tone befitting of an innocent Gilda. Her “Caro nome” (Sweet name) in Act I was exquisitely shaped and captivating, and she carried that level of artistry throughout the evening.
Ben Bliss brought swagger to the role if the womanizing Duke. He sang with clarity and confidence, making strong impressions in both “Questa o quella” (This or that woman) and, the famous aria, “La donna è mobile” (The woman is fickle).
The audience was particularly and rightly taken with Peixin Chen’s Sparafucile, whose dark, resonant bass lent real menace to the assassin.
The ensemble singing was another highlight, with several beautiful a cappella passages in the duets. The well-known quartet, “Bella figlia dell’amore,” (Beautiful daughter of love) was masterfully sung, showcasing Verdi’s brilliance as a composer.
Final Thoughts
Visually, the set was beautiful and full of luxurious elements to delight the eye. In the final scene though, the cavernous room was stripped bare of furniture and decoration. All that lay there was Gilda underneath a white cloth. It was especially powerful.
My minor criticism lies in the scene changes. There was extended action in front of a drawn black curtain, often accompanied by recorded thunder, that felt too long and slightly contrived. A simple pause might have sufficed while the set was re-arranged.
Rigoletto continues to captivate with its dramatic story and the complexity of its title character, supported by great music.
The powerful themes remain contemporary. This production seizes that power and makes it unforgettable.
By Albert Wong for Ludwig-Van.
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