Performing the Characters, Characterization in Rigoletto Paraphrase

Topics: Piano, Franz Liszt, Opera Pages: 16 (5177 words) Published: July 27, 2010
Performing the Characters: 3 interpretations of Verdi-Liszt’s Rigoletto Paraphrase -------------------------------------------------
Featuring Li Yundi, Maciej Pikulski and Leslie Howard
Evan Asava Aree

Table of Contents
List of Figures:3
List of Tracks:4
Chapter 1: Introduction5
1.1 Rigoletto: Opera by Verdi5
1.2 Rigoletto: Piano Transcription by Liszt6
Chapter 2: Characters in Rigoletto8
2.1 The Duke8
2.2 Maddalena9
2.3 Gilda9
2.4 Rigoletto9
Chapter 3: Analysis10
3.1 Characterization10
3.1 Characterization in Rigoletto Paraphrase10
3.1.1 Character 1: The Duke10
3.2.2 Character 2: Maddalena16
3.2.3 Character 3: Gilda21
3.2.4 Character 4: Rigoletto25
Chapter 4: Conclusion28
Chapter 5: Bibliography30
Sound Recordings:33
Appendix A: Interview with Kenneth Hamilton34
Appendix B: Biographies of Performers ......................................................................36

List of Figures:
Figure:| Description:|
3.1| Li Yundi’s interpretation of the Duke’s solo|
3.2| Comparison of actual score and Li Yundi’s interpretation | 3.3| Maciej Pikulski's Interpretation of the Duke's solo| 3.4| Maciej Pikulski’s 2nd representation of the Duke theme| 3.5| Leslie Howard’s Interpretation of the Duke Theme|

3.6| Leslie Howard’s Interpretation of Line 3|
3.7| Original Score compared to Li Yundi's Interpretation| 3.8| Pikulski's rendition of Maddalena's theme|
3.9| Pikulski plays Maddalena’s 2nd theme|
3.10| Howard’s consistency in expression of Maddalena’s theme| 3.11| Comparison of Vocal score, Transcription and Li Yundi's interpretation| 3.12| Pikulski's interpretation of Gilda's Theme|

3.13| Leslie Howard's Interpretation of Gilda's theme|
3.14| Li Yundi's Interpretation of Rigoletto's Theme|
3.15| Maciej Pikulski’s Interpretation of Rigoletto’s Theme|

List of Tracks:
No.| Description:| Duration:|
1| Li Yundi Duke Theme| 0:10|
2| Li Yundi Duke Theme (2)| 0:05|
3| Maciej Pikulski Duke Theme| 0:10|
4| Maciej Pikulski Duke Theme (2)| 0:05|
5| Leslie Howard Duke Theme| 0:10|
6| Leslie Howard Duke Theme (2)| 0:10|
7| Li Yundi Maddalena Theme| 0:06|
8| Maciej Pikulski Maddalena Theme| 0:10|
9| Maciej Pikulski Maddalena Theme (2)| 0:05|
10| Leslie Howard Maddalena Theme| 0:10|
11| Li Yundi Gilda’s Theme| 0:17|
12| Opera Gilda’s Theme| 0:15|
13| Maciej Pikulski Gilda’s Theme| 0:20|
14| Leslie Howard Gilda’s Theme| 0:20|
15| Li Yundi Rigoletto Theme| 0:12|
16| Maciej Pikulski Rigoletto Theme| 0:20|
17| Rigoletto Opera| 4:19|
18| Li Yundi Rigoletto Paraphrase| 6:27|
19| Maciej Pikulski Rigoletto Paraphrase| 6:43|
20| Leslie Howard Rigoletto Paraphrase| 7:43|

Chapter 1: Introduction
1.1 Rigoletto: Opera by Verdi
Rigoletto was composed in 1851 in the middle-late period of Verdi’s life. It is a story about a court jester, in his bid to protect his own daughter, goes all out to take revenge for her by hiring an assassin Sparafucile, but ironically fails by killing his own daughter instead. This essay will focus on the famous quartet (bella figlia dell’ amore) from Act III Scene 1, which Liszt based his operatic transcription on. In the quartet, the Duke flirts with Maddalena and Maddalena half-hearted repels his advances while Rigoletto and Gilda comment from the outside about the Duke’s dishonesty. It turns out that Maddalena herself enticed the Duke to the inn and the Duke is prepared to offer marriage. Here the Duke’s effusions, Maddalena’s superficial sentiments about the Duke, Gilda’s anxiety and Rigoletto’s anger unite in the quartet and it is the simultaneous representation of these characters vertically and within a regular, almost classical design that makes this quartet famous. Another intriguing element is that all 4 characters are...
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