Related articles:

AZ Opera plumbs depths of 'Rigoletto' 'Rigoletto'

Other articles by Cathalena E. Burch:

Lawrence tops Fest bill With bus, Bonnett's set for the big time The future of folk A fitting day for superdad: Cosby delivers superb humor Arizona Opera slashes management, cuts pay Brisket, BBQ are a family affair Are you ready for some Williams? Our favorite TV dad here for Father's Day Thousands in donations assure more parks concerts in the fall Aisle seats: Arts picks for the week

Sales and Marketing
Everready Glass
Sales Reps Trades/Construction
RANCHO RESORT
MAINTANANCE POSITION Administrative & Professional
Jorgensen Brooks Group
Counselor Administrative & Professional
Tucson Urban League
CEO/President Finance and Accounting
Charles E. Gillman Company
Accounting Specialist Mechanical
Komatsu Equipment Co
Resident Field Mechanic

It is not surprising that Gordon Hawkins received a pair of rousing ovations after his performance Saturday in Arizona Opera’s “Rigoletto.”

Hawkins and his deeply resonating baritone, quite simply, stole the show. From the first playful fits taunting the spurned courtiers to those painful bellows of “The curse!” as he held his dead daughter, he mesmerized the audience of about 1,700.

Hawkins has made a career of the lowly court jester who learns the hard way that revenge has painful side-effects. He has sung the role to critical acclaim in opera houses nationwide including with the Arizona Opera in 2001-02, the last time the company mounted Verdi’s tale of womanizing deceit and revenge.

In its 2008-09 season opener, Arizona Opera dusted off its old production and installed director David Gately to infuse a rougher edge to Verdi’s sordid tale of powerful men scorning vulnerable women and vulnerable women falling helplessly for the bait.

Gately sees “Rigoletto” in classic Verdian shades — with all its rough edges and cruelty in public view. Timid directors might water down the abduction of Rigoletto’s daughter Gilda (stunningly sung by soprano Mary Wilson) as a frat-boy prank. Gately’s Duke (Garrett Sorenson in his company debut), the recipient of the kidnapping, is just brutal enough that we realize he has full intentions of having his way with the young girl.

With a luscious, unwavering baritone and an emotional stage presence, Hawkins’ Rigoletto was equal parts dotting, overprotective father and long-suffering pity party host. He laments how life has cursed him — he’s hunched and lame, which Hawkins affected with a subtle gimp — and the only job he can secure is mocking others. And now Count Monterone (tenor Scott Sikon) has put a father’s curse on him for chiding Monterone’s dishonored daughter.

Gilda is Rigoletto’s sole reason for living, so the thought of Monterone’s curse shakes him to his core. In a moving duet, he makes his daughter promise not to leave the house or let anyone inside. Of course, a little cash to Gilda’s chaperone (nicely sung by mezzo Olga Perez) gives the conniving Duke an open door and paves the way for the sordid events to come:

∫ The Duke’s courtiers, who despise Rigoletto, trick him into helping them kidnap Gilda.

∫ By the time Rigoletto finds her, the Duke has already has his way with her.

∫ He seeks revenge by hiring an assassin Sparafucile (wonderful bass Peter Volpe) to kill the Duke.

∫ The Duke, aided by Sparafucile’s equally treacherous sister Maddalena (mezzo Elizabeth Batton), escapes his demise.

∫ Gilda instead falls on the knife meant for her lover, who she overhears professing love for Maddalena.

One other twist: Maddalena delivers the fatal blows in an act that is the ultimate female betrayal and the ultimate female guile — knock out your competition and keep the prize.

You have to love how opera throws it all on the table — sex, lies, dirty trickery.

What also made this “Rigoletto” such a joy was its cast. The chorus was exemplary; Batton was a convincingly self-obsessed Maddalena, with a sultry, bronze voice that exuded warmth and deception. And Wilson, who last appeared with Arizona Opera in 2006’s “The Marriage of Figaro,” possessed an arresting soprano and a beguiling innocence that convinced you she truly believed the lecherous Duke loved her. Her dramatic Act II aria “La vendetta” stole our breath.

Guest conductor Richard Buckley led the orchestra in a darkly intense account of Verdi’s score, which plays like a film soundtrack, moving the drama with near cinematic flourishes. The arias were particularly well executed, especially the Duke’s playful “La donna è mobile,” which highlighted Sikon’s admirable tenor.