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Taking a lantern, she walks up the steps to the terrace. Meanwhile, Marullo, Ceprano, Borsa and other courtiers have appeared in the road, armed and masked, they watch Gilda as she enters the house. Rigoletto enters with a preoccupied air. Sheetmusic in our database with this aria External links for Caro nome che il mio cor Sheetmusic for this aria on Sheetmusicplus.

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Opera details:

Despite their best efforts, including frantic correspondence with La Fenice, the Austrian censor De Gorzkowski emphatically denied consent to the production of "La Maledizione" its working title in a December letter, calling the opera "a repugnant [example of] immorality and obscene triviality. Piave set to work revising the libretto, eventually pulling from it another opera, Il Duca di Vendome , in which the sovereign was a duke and both the hunchback and the curse disappeared.

Verdi was completely against this proposed solution, preferring to negotiate directly with the censors over each and every point of the work. By January the parties had settled on a compromise: In the new version, the Duke would preside over Mantua and belong to the Gonzaga family. The House of Gonzaga had long been extinct by the midth century, and the Dukedom of Mantua no longer existed. The scene in which he retired to Gilda's bedroom would be deleted, and his visit to the Taverna inn would no longer be intentional, but the result of a trick.

Rigoletti, ou Le dernier des fous Rigoletti, or The last of the fools of Verdi finally completed the composition on 5 February , a little more than a month before the premiere. Piave had already arranged for the sets to be designed while Verdi was still working on the final stages of Act 3. The singers were given some of their music to learn on 7 February. However, Verdi kept at least a third of the score at Busseto. He brought it with him when he arrived in Venice for the rehearsals on 19 February, and would continue refining the orchestration throughout the rehearsal period.

Rigoletto premiered on 11 March in a sold-out La Fenice as the first part of a double bill with Giacomo Panizza 's ballet Faust. Gaetano Mares conducted, and the sets were designed and executed by Giuseppe Bertoja and Francesco Bagnara. Varesi was very uncomfortable with the false hump he had to wear; he was so uncertain that, even though he was quite an experienced singer, he had a panic attack when it was his turn to enter the stage.

Verdi immediately realised he was paralysed and roughly pushed him on the stage, so he appeared with a clumsy tumble. The audience, thinking it was an intentional gag, was very amused.

Rigoletto was a great box-office success for La Fenice and Verdi's first major Italian triumph since the premiere of Macbeth in Florence. It initially had a run of 13 performances and was revived in Venice the following year, and again in Despite a rather disastrous production in Bergamo shortly after its initial run at La Fenice, the opera soon entered the repertory of Italian theatres.

By , it had premiered in all the major cities of Italy, although sometimes under different titles due to the vagaries of censorship e. In modern times, it has become a staple of the standard operatic repertoire. Several modern productions have radically changed the original setting. Different characters portray different archetypes from the Rat Pack era, with the Duke becoming a Frank Sinatra -type character and Rigoletto becoming Don Rickles.

A magnificent hall in the ducal palace. Doors at the back open into other rooms, splendidly lit up. A crowd of lords and ladies in grand costumes are seen walking about in the rear rooms; page boys come and go. The festivities are at their height. Music is heard from offstage. The Duke and Borsa enter from a door in the back. At a ball in his palace, the Duke sings of a life of pleasure with as many women as possible, and mentions that he particularly enjoys cuckolding his courtiers: He mentions to Borsa that 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, including the Count Ceprano, and advises the Duke to get rid of him by prison or death. The Duke laughs indulgently, but Ceprano is not amused. Marullo, one of the guests at the ball, informs the courtiers that Rigoletto has a "lover", which astonishes them.

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Marullo is not aware that the "lover" is actually Rigoletto's daughter. The courtiers, at Ceprano's suggestion, resolve to take vengeance on Rigoletto for making fun of them. The festivities are interrupted by the arrival of the elderly Count Monterone, whose daughter the Duke had seduced. Rigoletto provokes him further by making fun of his helplessness to avenge his daughter's honor.

Monterone confronts the Duke, and is immediately arrested by the Duke's guards. Before being led off to prison, Monterone curses both the Duke for the attack on his daughter and Rigoletto for having mocked his righteous anger. The curse terrifies Rigoletto, who believes the popular superstition that an old man's curse has real power. The end of a dead-end street. On the left, a house of discreet appearance with one small courtyard surrounded by walls. In the yard there is one tall tree and a marble seat; in the wall, a door that leads to the street; above the wall, a terrace supported by arches.

The second floor door opens on to the said terrace, which can also be reached by a staircase in front. To the right of the street is the very high wall of the garden and a side of the Ceprano palace. Preoccupied with the old man's curse, Rigoletto approaches the house where he is concealing his daughter from the world and is accosted by the hit-man Sparafucile, who walks up to him and offers his services.

Rigoletto declines for the moment, but leaves open the possibility of hiring Sparafucile later, should the need arise. Sparafucile wanders off, after repeating his own name a few times. Rigoletto contemplates the similarities between the two of them: Rigoletto opens a door in the wall and embraces his daughter Gilda. They greet each other warmly: 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: Hearing sounds and fearing that her father has returned, Gilda sends the Duke away after they quickly trade vows of love: Alone, Gilda meditates on her love for the Duke, whom she believes is a student: Caro nome che il mio cor " "Dearest name".

They tell Rigoletto that they are actually abducting the Countess Ceprano.

He sees that they are masked and asks for a mask for himself; while they are tying the mask onto his face, they also blindfold him. Blindfolded and deceived, he holds the ladder steady while they climb up to Gilda's room: With her father's unknowing assistance Gilda is carried away by the courtiers.

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Left alone, Rigoletto removes his mask and blindfold, and realizes that it was in fact Gilda who was carried away. He collapses in despair, remembering the old man's curse. A room in the ducal palace. There are doors on both sides as well as a larger one at the far end by the sides of which hang full length portraits of the Duke and his wife. There is one high-backed chair at a table covered with velvet and other furnishings. The Duke is concerned that Gilda has disappeared: The courtiers 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: Rigoletto enters singing and feigning nonchalance, but also looking anxiously for any trace of Gilda, whom he fears she may have fallen into the hands of the Duke.

The courtiers pretend not to notice his anxiety, but quietly laugh at him with each other. A page boy arrives with a message from the Duke's wife - the Duchess wishes to speak to her husband - but the courtiers reply suggestively that the Duke cannot be disturbed at the moment. Rigoletto realizes this must mean that Gilda is with the Duke.

To the courtiers' surprise, he reveals that Gilda is his daughter. He first demands, then tearfully pleads with the courtiers to return her to him: Rigoletto attempts to run into the room in which Gilda is being held, but the courtiers block his way.

After a time, Gilda enters, and Rigoletto orders the courtiers to leave him alone with her. The courtiers leave the room, believing Rigoletto has gone mad. Gilda describes to her father what has happened to her in the palace: Monterone is led across the room on the way to prison and pauses in front of the portrait of the Duke to regret that his curse on the libertine has had no effect. As the guards lead Monterone away, Rigoletto mutters that the old man is mistaken; he, Rigoletto, the dishonored buffoon, shall make thunder and lightning rain from heaven onto the offender's head.

He repeats this vow as Gilda pleads for mercy for her lover the Duke: