This is a disappointing performance, the sum of which is less than its parts lead us to expect. Because part of the original Act II performance was lost, it has been replaced with one from 1939; the conductor and cast are the same except that the Duke is sung by Jan Kiepura instead of Frederick Jagel. Both are decent, neither is special. Pons’ shallow tone is heard to its best advantage as Gilda–she actually sounds like a young girl, albeit an insipid one who can really sing. But it’s Tibbett who lets us down most. The tone is big and hearty as ever, but where’s Rigoletto? Where is the nastiness, the wounded pride, the self-loathing, the fatherly love, the tragedy? What we get is an outpouring of handsome sound alone, and there’s a huge hole at the center of the opera as a result. Panizza leads a strong, exciting performance, starring a songbird, a big voice, and a pair of operatic tenors, and it’s not enough. (Editor’s Note: Not available for sale in the U.S.A.)
