Behind the glitter and excess lurks murder and savagery

Rigoletto ★★★★By Peter McCallumSydney Opera House, July 21It is the “curse” – la maledizione – that drives the drama of Verdi’s Rigoletto. We hear it in the overture’s first portentous notes and in Rigoletto’s despairing cry at the close. Rigoletto believes it ultimately derives from his ugliness, the hunchback that condemns him to a life of humiliation and corrosive bitterness, making him over-protective of the one thing of beauty in his life, his daughter, Gilda.This classic production by the late Elijah Moshinsky transfers that ugliness to the world at large, in particular, the Duke of Mantua’s court, the centrepiece of designer Michael Yeargan’s rotating set. Creating a surprising sense of depth and space on the Joan Sutherland Theatre’s limited stage, it juxtaposes a palace of glitter