Felipe Santos
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A few months ago, the writer Claudio Magris said in an interview that the problem of man was not happiness, but the risk of "not being able to feel happiness (...) as it is not a loved being but something more tragic: not being able to love". In certain way, this modern incapacity lies at the base of the famous opera, a true classic when it allows us to set sight on it and recognize the verse sang by a man for whom it seems that time has not passed. It is not difficult to feel the proximity of characters that, regardless of their hyperbolic theatrical behavior, swim in the sea of our culture. As close to the human experience as far away from the scenario, we find Rigolleto in act II, depressed by the disappearance of his daughter Gilda, but still has to continue with the ungrateful work of entertaining and making laugh the court of Mantua. The music of Verdi guides us between the sterile rage of the teased jester (“Cortigiani, vil razza dannata”) and his pathetic beg for pardon (“Ebben, piango”), up to the shocking duo of father and dishonored daughter (“Tutte le feste”). In all of these notes, the two worlds that the comical humpback struggles to keep separated finally cross: his organized life with his daughter, whom he separated from the real world and wants to educate in virtue, and the dissolute and cruel life at the service of the duke. "The world of Rigoletto" is a trip along those conflicting realms that live in the spirit of man through on of the great classics of the opera repertory.  
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