In an opera trifecta, the people’s baritone Amartuvshin Enkhbat, award winning tenor Liparit Avetisyan and local rising star Stacey Alleaume come together to star in Elijah Moshinsky’s resplendent production of Verdi’s Rigoletto in Melbourne.
Making his Australian debut in the role of Rigoletto is booming Mongolian baritone Amartuvshin Enkhbat. Mongolia’s first ever entrant to the BBC Cardiff Singer of the World competition in 2015 where he was crowned the Dame Joan Sutherland Audience Prize Winner, Enkhbat was named the Honoured Artist of Mongolia in 2010 at the age of 24 and has since performed in cities around the world including Paris, New York, Seoul and Kiev.
Joining Enkhbat onstage will be arguably one of the most exciting young singers performing today, remarkable Armenian tenor Liparit Avetisyan, in the role of the Duke of Mantua singing the classic aria ‘La donna è mobile’. Recipient of the 2017 Golden Mask Award (Russia’s highest theatre award) for best opera actor, Avetisyan made his Australian debut with OA in 2017 performing the role of Alfredo Germont in Moshinsky’s production of La Traviata.
Performing alongside them will be local Melbourne girl, Stacey Alleaume, making her role debut as Gilda. Known as opera’s rising star soprano, Alleaume’s career has been going from strength to strength, with this production marking her third principal role debut with Opera Australia within a year.
The trio will perform under the baton of Italian Maestro Andrea Licata. Licata worked with Opera Australia as recently as 2018 where his conducting of the Opera Australia Orchestra in Moshinsky’s production of La Traviata at Sydney Opera House received a standing ovation.
The classic production, by renowned director and Opera Australia Trophy recipient, Elijah Moshinsky, embraces the full glamour of Fellini’s La Dolce Vita with sumptuous costumes and an elaborate revolving set, as well as what has become known as OA’s famous scene-stealing car.
Moshinsky’s production is ritzy, rough and bursting with colour. Rigoletto is both compelling and repulsive in his accentuated makeup and bright jacket and Verdi’s lush music plays out against the backdrop of opulent interiors, with a chorus in sharp gangster suits and magnificent evening gowns, all designed by Michael Yeargan.
With characters that are unconventional, music that is unforgettable and a story that is as much about obsession as it is about love, it is easy to see why this three-act opera, based on a Victor Hugo play, is widely thought to be the first of the operatic masterpieces of Verdi’s mid-to-late career.