Rigoletto

It's a strange story. The plot has never quite made sense to me, although some points of the story do, if taken as cameos. Very dark of course. The set was dark to match, twisted like the plot and distorted like Rigoletto's spine. Clever use of the turntable, so that the scenery never had to be moved.

Paolo Gavanelli - Rigoletto
Beautiful rich voice, and very expressive; there was a touch of wobble on some higher notes (presumably around gear-change, because it didn't appear on the highest), though fortunately not the barn-door effect that mars a lot of big-voiced baritones and basses. He acts well.

Anna Netrebko - Gilda
Gorgeous voice, coloratura, very powerful - a little too much for the part. Superb control on the quiet passages. She wasn't quite suited to the innocent and ethereal nature of Gilda, but was more credible in the last act, weeping against the door; and even more so when she sacrifices herself. I got the impression she was more comfortable in the short hair and breeches and drama of the end of the story.

Piotr Beczala - the Duke
I loved the tenor's voice. Of course, he gets the memorable tune, and a character that is perhaps easier to play than Rigoletto or Gilda.

Marina Domashenko - Maddalena
The mezzo's voice was amazingly rich, and a surprisingly big sound from a fairly small woman. Fair-sized boobs, though - couldn't miss them, falling out of her corset as the Duke took her doggy-style and facing the auditorium.