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COCs Rigoletto plays into debate on male entitlement

first_imgAnna Christy in the English National Opera production of Rigoletto, which uses the same sets and costumes as the Canadian Opera Company version. (ENGLISH NATIONAL OPERA) The set-up for this tragic tale is simple: the Duke of Mantua is the lord of all he surveys, including every winsome lass. His jester, the hunchback Rigoletto, obsessively hides his daughter from this world so that she can remain the pure, unspoiled apple of his eye.The boss spreads his love around indiscriminately, with no concern for the lives or emotions of the women he touches. The servant hoards his love, with no concern for the life he is smothering in the process. The mixture of the two stirs up a boiling pot of rage and revenge. Advertisement These sorts of behaviours have been exploding in our faces in recent weeks, months and years, as we confront the self-entitlement of so many men. Yet we continue to hum “La donna e mobile” as we shower or as we leave the opera house. Login/Register With: Twitter LEAVE A REPLY Cancel replyLog in to leave a comment Advertisement Facebook Treasures of our culture sometimes clash with how things really ought to be. Giuseppe Verdi’s opera Rigoletto offers a case in point.It has been one of the world’s favourite operas since its premiere in 1851. One of its arias, “La donna e mobile” (“Women are fickle”), is known and enjoyed even by people who have never been inside an opera house. But that aria belongs to a piece of musical theatre that depicts men at their worst.The Canadian Opera Company opens its own production, last seen here in 2011, on Saturday at the Four Seasons Centre for the Performing Arts. It will run for 10 performances until Feb. 23. Advertisementlast_img read more