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| Oh, Baby! That Duke Sure Is a Dreamboat in the New ‘Rigoletto’ | Oh, Baby! That Duke Sure Is a Dreamboat in the New ‘Rigoletto’ |
| (4 months later) | |
| My sights are set on a swingin’ girl, So hop on, baby, let’s take that whirl! | |
| — Giuseppe Verdi, 1813-1901 | — Giuseppe Verdi, 1813-1901 |
| Yes, it sounds more like Dean Martin. But that couplet comes from Verdi, at least at the Metropolitan Opera these days. The lines are among the seat-back titles for the Met’s current run of “Rigoletto,” which has its next performance on Friday night. | Yes, it sounds more like Dean Martin. But that couplet comes from Verdi, at least at the Metropolitan Opera these days. The lines are among the seat-back titles for the Met’s current run of “Rigoletto,” which has its next performance on Friday night. |
| The director, Michael Mayer, has set the production in 1960 Las Vegas, transferring the thuggish morality of the court of 16th-century Mantua to the neon-lighted, satin-jacket world of Dino, Sammy and Frank. | The director, Michael Mayer, has set the production in 1960 Las Vegas, transferring the thuggish morality of the court of 16th-century Mantua to the neon-lighted, satin-jacket world of Dino, Sammy and Frank. |
| Setting operas from past centuries in recent times is a staple of opera direction today, especially in Europe, and it sparks feuds between traditionalists and updaters as regularly as the sun rises. But the Met production has a particularly unusual aspect: titles that go beyond the libretto, written by Francesco Maria Piave, to a degree rarely seen at the house. | Setting operas from past centuries in recent times is a staple of opera direction today, especially in Europe, and it sparks feuds between traditionalists and updaters as regularly as the sun rises. But the Met production has a particularly unusual aspect: titles that go beyond the libretto, written by Francesco Maria Piave, to a degree rarely seen at the house. |
| The liberties push the envelope on how an opera that had its premiere in 1851 Venice can be produced in 2013 New York. An examination of the titles also illuminates the delicate but obscure art of telegraphing an opera’s libretto in brief flashes of two 38-character lines (an early form of tweeting, perhaps) without distracting the viewer from what is on the stage or straying too far from the meaning of the text. | The liberties push the envelope on how an opera that had its premiere in 1851 Venice can be produced in 2013 New York. An examination of the titles also illuminates the delicate but obscure art of telegraphing an opera’s libretto in brief flashes of two 38-character lines (an early form of tweeting, perhaps) without distracting the viewer from what is on the stage or straying too far from the meaning of the text. |
| Take the quote above about swingin’ girls, in which the Duke discusses his philosophy of seduction in the aria “Questa o quella.” The Italian literally reads, “I would defy even the hundred eyes of Argus if a beautiful woman strikes me.” | Take the quote above about swingin’ girls, in which the Duke discusses his philosophy of seduction in the aria “Questa o quella.” The Italian literally reads, “I would defy even the hundred eyes of Argus if a beautiful woman strikes me.” |
| Hop on, baby! | Hop on, baby! |
| The subtitles also use words and phrases like “yikes,” “get a load of the new dupe,” “jackpot,” “pack of lousy, rotten rats,” “home run” and “dreamboat,” none of which, it is safe to say, would have been uttered by Verdi or Piave. The Count of Monterone, who appears in traditional Arab robes to deliver his curse, is called “Your Sheikness.” “Signor” becomes “big shot,” “bella” becomes “knockout,” “fool” becomes “funnyman” or “jerk.” | The subtitles also use words and phrases like “yikes,” “get a load of the new dupe,” “jackpot,” “pack of lousy, rotten rats,” “home run” and “dreamboat,” none of which, it is safe to say, would have been uttered by Verdi or Piave. The Count of Monterone, who appears in traditional Arab robes to deliver his curse, is called “Your Sheikness.” “Signor” becomes “big shot,” “bella” becomes “knockout,” “fool” becomes “funnyman” or “jerk.” |
| At the dramatic climax, when Rigoletto thinks he is standing before the Duke’s body (alas, it is that of his daughter, Gilda), he declares in Italian that his nemesis “lies at my feet.” The Met title has Rigoletto say, “And now I’m the headliner!” | At the dramatic climax, when Rigoletto thinks he is standing before the Duke’s body (alas, it is that of his daughter, Gilda), he declares in Italian that his nemesis “lies at my feet.” The Met title has Rigoletto say, “And now I’m the headliner!” |
| The orchestra plays the notes as Verdi wrote them, and the singers sing Piave’s original words. But the English-speaking audience member reading the titles gains a very different impression of Piave’s language. | The orchestra plays the notes as Verdi wrote them, and the singers sing Piave’s original words. But the English-speaking audience member reading the titles gains a very different impression of Piave’s language. |
| The opera’s creative team says the titles are simply an extension of the opera’s updated setting. | The opera’s creative team says the titles are simply an extension of the opera’s updated setting. |
| “In terms of the tone, we wanted to capture some of that ‘bada-bing,’ that sort of swinging, Rat Pack ‘Fly Me to the Moon’ language,” Mr. Mayer said. “Why not make it as fresh and relevant to what’s happening visually as possible? The fewer disconnects the better.” | “In terms of the tone, we wanted to capture some of that ‘bada-bing,’ that sort of swinging, Rat Pack ‘Fly Me to the Moon’ language,” Mr. Mayer said. “Why not make it as fresh and relevant to what’s happening visually as possible? The fewer disconnects the better.” |
| Peter Gelb, the Met’s general manager, pointed out that titles have always been loosely rendered, omitting words or changing elements mentioned in the original libretto. | Peter Gelb, the Met’s general manager, pointed out that titles have always been loosely rendered, omitting words or changing elements mentioned in the original libretto. |
| The goal is clarity and coherent storytelling, he said, especially when an opera’s setting has been so drastically changed. “You’re obliged to have the titles go along,” he said. “Otherwise you pull the rug out from under the change of setting.” | The goal is clarity and coherent storytelling, he said, especially when an opera’s setting has been so drastically changed. “You’re obliged to have the titles go along,” he said. “Otherwise you pull the rug out from under the change of setting.” |
| J. D. McClatchy, a poet, librettist and sometime Met title maker, said that once a director sets the course, there is no choice but to follow. “That’s what makes me very nervous about directors,” he said, speaking in general terms, “that they will change things to suit themselves, rather than the text they’ve been given to interpret.” | J. D. McClatchy, a poet, librettist and sometime Met title maker, said that once a director sets the course, there is no choice but to follow. “That’s what makes me very nervous about directors,” he said, speaking in general terms, “that they will change things to suit themselves, rather than the text they’ve been given to interpret.” |
| Paul Cremo, the Met dramaturge and the man who oversees the titles, said that updating 19th-century language was a delicate balancing act. Titles should not wander too far from “what’s actually being said,” he added, yet convey meaning quickly as the opera train rushes on, match the production’s style and present the essential meaning of the text. | Paul Cremo, the Met dramaturge and the man who oversees the titles, said that updating 19th-century language was a delicate balancing act. Titles should not wander too far from “what’s actually being said,” he added, yet convey meaning quickly as the opera train rushes on, match the production’s style and present the essential meaning of the text. |
| “It’s an exercise in minimalism,” he said. | “It’s an exercise in minimalism,” he said. |
| For “Rigoletto,” Spanish and German versions are also available, as well as a straight Italian condensation reflecting the more archaic original. (Italian is now included for Italian operas, thanks to a request by the Italian consul, Mr. Gelb said.) | For “Rigoletto,” Spanish and German versions are also available, as well as a straight Italian condensation reflecting the more archaic original. (Italian is now included for Italian operas, thanks to a request by the Italian consul, Mr. Gelb said.) |
| New York City Opera introduced projected titles to the United States in 1983, showing them above the stage. Twelve years later the Met installed its seat-back system. Now, the vast majority of opera houses in the world have some sort of titling. | New York City Opera introduced projected titles to the United States in 1983, showing them above the stage. Twelve years later the Met installed its seat-back system. Now, the vast majority of opera houses in the world have some sort of titling. |
| At the Met, a cue caller watches monitors of the conductor and stage and follows along with an annotated score, signaling the moment for each title. A technician presses a button to activate it. | At the Met, a cue caller watches monitors of the conductor and stage and follows along with an annotated score, signaling the moment for each title. A technician presses a button to activate it. |
| Michael Panayos is the house’s head title man. In the case of “Rigoletto,” which runs through May 1, he and Mr. Cremo took an existing set of “Rigoletto” titles and rejiggered them to match as closely as possible Mr. Mayer’s Rat Pack spirit. “It was like being in the writers’ room of a TV show,” Mr. Cremo said. | Michael Panayos is the house’s head title man. In the case of “Rigoletto,” which runs through May 1, he and Mr. Cremo took an existing set of “Rigoletto” titles and rejiggered them to match as closely as possible Mr. Mayer’s Rat Pack spirit. “It was like being in the writers’ room of a TV show,” Mr. Cremo said. |
| In “Questa o quella,” the Duke is a Sinatra-like figure delivering the aria as a lounge singer, holding a microphone and surrounded by showgirls. Mr. Cremo said he and Mr. Panayos read through the lyrics of Sinatra songs to find the right spirit. | In “Questa o quella,” the Duke is a Sinatra-like figure delivering the aria as a lounge singer, holding a microphone and surrounded by showgirls. Mr. Cremo said he and Mr. Panayos read through the lyrics of Sinatra songs to find the right spirit. |
| Of the “Hop on, baby” couplet, Mr. Cremo said: “I don’t think it’s that far off. It’s a very hip, finger-snappy, Rat Pack way of saying it.” | Of the “Hop on, baby” couplet, Mr. Cremo said: “I don’t think it’s that far off. It’s a very hip, finger-snappy, Rat Pack way of saying it.” |
| Mr. Mayer said some tweaks were made after opening night, including cutting “Arab” from references to the curse to avoid distracting audiences from the general nature of the malediction. | Mr. Mayer said some tweaks were made after opening night, including cutting “Arab” from references to the curse to avoid distracting audiences from the general nature of the malediction. |
| Mr. McClatchy said he liked the “Rigoletto” titles but could not resist suggesting some tweaking of his own. “I was surprised the titles didn’t go a little further,” he said. “I would have called him Duke, not the Duke.” | Mr. McClatchy said he liked the “Rigoletto” titles but could not resist suggesting some tweaking of his own. “I was surprised the titles didn’t go a little further,” he said. “I would have called him Duke, not the Duke.” |
| And he suggested naming the seedy bar run by the assassin Sparafucile and his seductive sister Maddalena the “S&M Club.” | And he suggested naming the seedy bar run by the assassin Sparafucile and his seductive sister Maddalena the “S&M Club.” |