A fool’s errand.
Sharp-witted court jester Rigoletto is the philandering Duke’s right-hand man, always quick to defend his patron’s womanizing and mock his master’s victims. But the joke is on him.
The tables turn when Rigoletto and the Duke are both cursed for their wretched behavior. While Rigoletto instinctively fears the curse, the callous Duke remains unfazed, turning his rakish intentions toward Rigoletto’s daughter, Gilda.
Naïve, sheltered, and easily charmed, Gilda falls madly in love with the Duke. Now, Rigoletto must plot and scheme to save his own daughter from the monster he had championed. Will Rigoletto have the last laugh, or will he be the punchline?
These performances are sponsored in part by The Gailliot Fund.





Performances
CAST AND ARTISTIC TEAM

Rigoletto: Sebastian Catana

Duke of Mantua: Daniel O'Hearn**

Gilda: Susanne Burgess+

Maddalena: Maire Therese Carmack**

Sparafucile: Peter Volpe

Monterone: Jason Budd+

Borsa: Logan Wagner*

Ceprano: Drew Comer*+

Giovanna: Maya Davis*+

Countess Ceprano: Ayanna Delk-Lewis*+
Conductor: Antony Walker
Production Director: Tomer Zvulun
Revival Associate Stage Director : Elio Bucky+
Original Stage Director / Production: Tomer Zvulun
Scenic Designer: John Conklin
Costume Designer: Victoria Tzykun
Lighting Designer: Robert Wierzel
Wig & Make-up Designer: James Geier
Costume Director: Jacob Currence
Costume Shop Supervisor: Roberta Jo (BJ) Herr
Costume Shop & Wardrobe Key: Jacqueline Wadowsky
Head Carpenter: Sean West
Props Coordinator: Johnmichael Bohach
Lighting Director: Todd Nonn
Assistant Conductor: Glenn Lewis
Chorus Master: Mark Trawka
Associate Coach/Pianist: James Lesniak
Assistant Stage Director: Olivia Gacka*+
Stage Manager: TBA
Assistant Stage Managers: TBA
+ Pittsburgh Opera debut
* Pittsburgh Opera Resident Artist
** Pittsburgh Opera Resident Artist Alumnus
This production of Rigoletto is a co-production of Boston Lyric Opera, The Atlanta Opera, and Opera Omaha.
SYNOPSIS
Act 1
Scene 1
The Duke of Mantua is in his club, boasting to one of his followers about his success with women. He proceeds to flirt with the Countess Ceprano, while his jester, Rigoletto, cruelly mocks her husband. Meanwhile, another acquaintance, Marullo, tells his friends of a surprising discovery: he has heard that Rigoletto has a mistress hidden away at home.
Rigoletto continues to taunt the Count who retaliates by arranging a midnight meeting with some of the other members present where he will extract his revenge on the jester.
An elderly nobleman, Count Monterone, enters and denounces the Duke for seducing his daughter. He curses the Duke and when mocked by Rigoletto, Monterone turns on him and curses him as well. The curse strikes terror on Rigoletto, for the woman he lives with is not his mistress, but his daughter.
Scene 2
Brooding over Monterone’s curse, Rigoletto returns to the home he shares with his daughter, Gilda, hiding her away from the licentiousness that takes place at the Duke’s club. On his way home, he is confronted by Sparafucile, a professional assassin, who offers him his services. Rigoletto sends him away, but then muses on the parallels between their professions.
Gilda greets her father, and begins to ask him questions about their family and background, which he refuses to answer. Determined to protect Gilda he forbids her to leave their home, except to attend church. He also warns Gilda’s companion, Giovanna, not to allow anyone to enter the house while he is out. However, the Duke steals in and hides. While in hiding, he is astonished to hear Rigoletto call Gilda his daughter as he bids her farewell.
Gilda confesses to Giovanna that she is in love with a young man who has been following her home every day after church. On hearing this, the Duke appears and declares his love for Gilda, identifying himself as Gualtier Maldè, a penniless student. Hearing footsteps, he rushes off, leaving Gilda thinking lovingly of his name.
The club members appear, masked and ready to abduct Rigoletto’s supposed mistress. He surprises them by returning, but Marullo convinces him that they are planning to abduct the wife of Count Ceprano who lives nearby. Rigoletto falls into their trap, permitting himself to be blindfolded and masked. Unknowingly, he assists the conspirators in their abduction of his daughter. Gilda cries out to her father as she is carried off. Becoming suspicious, Rigoletto tears off the blindfold, realises Gilda is gone and cries, ‘Ah, the curse!’
Act 2
The Duke laments the loss of Gilda but when he is told of the abduction, he rejoices that she is now at his club.
When Rigoletto appears, he feigns nonchalance. Once it becomes clear to him that Gilda must be with the Duke, he tries to reach her, but the club members hold him back. His denunciation of their treachery dissolves into a bereft father’s pleading.
Left alone with Rigoletto, Gilda confesses that she is in love with the Duke and begs her father to forgive him. As Monterone is led to his execution, Rigoletto swears that they both will be avenged.
Act 3
Rigoletto has brought Gilda to Sparafucile to prove her lover’s faithlessness. As they lurk in the darkness, the Duke enters. After proclaiming the fickleness of women, he showers attentions on Maddalena, the assassin’s sister, as Rigoletto tries to comfort his despairing daughter. He orders her to disguise herself as a boy and meet him in Verona. After striking a bargain with Sparafucile for the Duke’s murder, Rigoletto departs.
Gilda returns in her disguise in time to overhear Maddalena begging her brother to spare the handsome stranger’s life. Sparafucile agrees to deceive Rigoletto by substituting the corpse of the next person who appears. Having returned determined to sacrifice herself so the Duke may live, Gilda becomes Sparafucile’s next victim.
At the stroke of midnight, Rigoletto pays the assassin and reserves for himself the satisfaction of throwing the sack containing his enemy’s corpse into the river. When he hears the Duke’s voice in the distance, he opens the sack and finds his daughter instead of the Duke. Begging her father’s forgiveness, she dies. The despairing Rigoletto cries out once more, ‘Ah, the curse!’
(courtesy of English National Opera)
DETAILS & RESOURCES
We want you to have the best experience possible at our performances!
Here are some details and resources to help. Also visit our Opera FAQs or our Accessibility page.
- Run time: approx. 2 hours and 30 minutes
- Understand Every Word: Sung in Italian with English supertitles projected above the stage
- Parking Downtown: get real-time parking availability
- Pre-Opera Talks before each performance
- Braille Programs available at The Benedum Center
- Large-Print Programs available at The Benedum Center
CHILD POLICY:
- Children must be ages 6 and up. Suggestions and tips for bringing children to the opera may be found at pittsburghopera.org/FAQ.
- All children must have a ticket. There is a 50% discount for kids and teens ages 6-18.
- Free childcare is available for children ages 2-12 at the Sunday matinee. Advance registration required.
BENEDUM SAFETY AND SECURITY STATEMENT
The Pittsburgh Cultural Trust has implemented new security and bag policies, effective starting October 1, 2016, at the Benedum Center and their other venues.
You can read their Safety & Security statement, which includes an updated list of prohibited items, and read their Bag Policy, on their website.
Part of the 2026-27 Season.

