Rigoletto NYC Reviews and Tickets
About the Show
Production Covid-19 Safety ProtocolsMember Reviews (10)
See it if you love this melodic music and would enjoy hearing it in a new setting that is well-staged and costumed.
Don't see it if you do not like long operas that tell a simple story.
See it if you like operatic music at its melodic and vocal best. Verdi wrote some of his most beautiful music for this opera. Great singers cast.
Don't see it if you don't like any kind of opera. If you haven't gone to an opera before read the synopsis and La Donna e Mobile yourself over to the Met. Read more
See it if Verdi's music and plot are as always amazing. However, there is something missing here. The acting did not gel and the period was not used
Don't see it if you expect top-notch everything from the Met. Perhaps it will come together as the production matures but now it feels lacking in passion
See it if Saw it with friends had a fun night in nyc
Don't see it if See it with friends otherwise skip the production
See it if you like opera, or want to hear some beautiful familiar melodies in the original Italian in amazing luscious sets with a great story.
Don't see it if you don’t like opera or don’t feel like seeing a tragedy during a pandemic or need something uplifting.
See it if you like opera from the canon beautifully staged and performed.
Don't see it if you don't like opera. Read more
See it if you love opera or have never been to the opera. Never boring with some transcendent moments.
Don't see it if you don't like reading translations.
See it if you enjoy epic operas directed by the best directors Broadway has to offer
Don't see it if you do not like opeara
Critic Reviews (5)
"Critic's Pick!...If shifting the opera’s setting from Renaissance Italy to 1920s Berlin was not entirely convincing, this was still a detailed, dramatic staging, full of insights into the characters. The chorus and orchestra excelled under the conducting of Daniele Rustioni, who led a lean, transparent performance that balanced urgency and lyricism."
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"There may be a constant low-grade panic coursing through the house, but it wasn’t evident onstage, where Michael Yeargan’s slow-twirling set (slipping from gaudy castle to dank house to dive), a chorus of thuggish courtiers, Donald Holder’s nimble lighting, and that perpetually awkward stage business involving a burlap sack all clicked smoothly along. Conductor Daniele Rustioni kept the orchestra sounding effervescent and fleet, honoring that unquenchably Verdian mixture of nastiness and entertainment. Sher and Rustioni made it clear they understand that, despite all the humiliation the title character endures and the ranging vindictiveness it triggers, Rigoletto is a tragedy that brings audiences joy."
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“Rigoletto” is a barn-burner—you have to gallop along with the sexism, violence and sentimentality in order for it to work. In this production, despite some gripping theatrical and vocal moments, the all-consuming sense of tragedy was missing."
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"While I was a fan of the "Rat Pack" production that preceded it--I know many weren't--I was ready to see what the Tony-Award winning director had up his sleeve. What followed was disappointing, despite some creditable singing and smooth, involved orchestral playing under Daniele Rustioni, with much blame I thought, going to Sher."
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"There’s a strong case to be made that Rigoletto is a proto-Brecht drama, and certainly the actual features of the Weimar Republic could be a compelling setting for the opera. It’s a shame such an excellent cast is fronting a new production that comes off as an empty bill of goods."
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