Mexican baritone Carlos Almaguer as Rigoletto on the Iași Opera stage

The Romanian National Opera of Iași has prepared an impressive production of Rigoletto, marking four stage debuts. Under the baton of maestro David Crescenzi, tenor Mihai Urzicana performed the role of the Duke of Mantua for the first time, while sopranos Antonia Cucerenco and Noemi Onucu debuted as Gilda. Additionally, bass Ștefan Linu made his debut as Count Ceprano. This year's edition also featured Mexican baritone Carlos Almaguer in the role of Rigoletto and Andrei Fermeșanu as the Duke of Mantua. The opera house celebrated the start of May with this remarkable lyrical art showcase.

Carlos Almaguer as Rigoletto on Iași Romanian Opera stage

This production offers audiences an intense artistic experience every time it graces the Iași opera stage, and the two performances on May 2 and 3, 2025, showcased moments of deep commitment. The vibrant atmosphere of Verdi’s emblematic opera intensified, captivating the audience more than ever, as the artistic efforts of the ensembles continued to resonate long after the final scene in the hearts of opera lovers. Both performances were conducted by David Crescenzi, with the following cast: Rigoletto – Carlos Almaguer (guest), Duke of Mantua – Mihai Urzicana (debut) and Andrei Fermeșanu (second evening), Gilda – Antonia Cucerenco and Noemi Onucu (debuts), Sparafucile – Teodor Busnea, Maddalena – Florentina-Irina Onică, Giovanna – Laura Scripcaru, Monterone – Dmytro Melnyk, Marullo – Victor Zaharia, Borsa – Ovidiu Manolache, Ceprano – Ștefan Linu (debut), Countess Ceprano – Angelica Solomon, Usher – Florin Roman, Page – Silviu Stratulat.

The production was staged under the direction of Marco Spada, with scenography by Mauro Tinti and lighting design by Fabio Rossi.

Carlos Almaguer’s Moving Interpretation of Rigoletto

For opera lovers in Iași, Carlos Almaguer is well known for his portrayal of Scarpia in Tosca by Giacomo Puccini. However, the beginning of May 2025 brought him into a new artistic adventure, exploring the dramatic depths of Rigoletto, a role rich in nuances, akin to an endless journey through emotion and expressivity.

His return to the Iași opera stage delivered an intense performance, where his deep timbre intertwined with warm tones and subtle nuances, accentuated in the transitions between musical phrases. Each aria and every line exchanged with fellow performers carried a unique musicality, while the sheer power of his voice dominated the sonic space, captivating audiences with his controlled and personalized stylistic interpretation. Rigoletto, a protective father tormented by fears, fluctuated between affection and natural withdrawal from his daughter’s prying questions. All this culminated in a rare sensitivity, an intriguing contrast between his commanding tone and the endless possibilities in phrasing. His duets with Gilda conveyed hope, while his performance reconciled the feeling of suspicion. His generous interpretation was reflected in the enthusiastic applause of the audience, who were deeply moved by this profound Rigoletto.

The much anticipated moment, Cortigiani, vil razza dannata, embodied a balance between power and despair, setting the stage for the act of revenge. His interpretation seamlessly followed the dramatic trajectory of his colleague Dmytro Melnyk, who brought Monterone to life, evoking a gravity filled resignation before the corrupt courtiers. Almaguer elevated the aria into a grand, suspenseful atmosphere, where his plea to the indifferent Marullo (Victor Zaharia) was delivered with a perfectly controlled intensity.

The iconic phrase La maledizione remained a defining moment, an invocation lost in the deceptive reflections of Venetian waters, reverberating in memory long before tragedy unfolded. Carlos Almaguer stayed true to the classical version of the role, despite the challenges presented by modern interpretations, a commitment he himself emphasized following this masterful performance. His devotion won over the Iași audience, ensuring that this Rigoletto, from the start of May, would remain a cherished memory, both vibrant and profoundly moving.

Four Debuts in Two Consecutive Evenings on the Iași Opera Stage

The two performances stand out by introducing young lyrical artists from the new generation in their debut roles. The rigorous selection by the Iași Opera management awarded the role of Gilda to debutants Antonia Cucerenco and Noemi Onucu.

Antonia Cucerenco as Gilda (debut)

Antonia Cucerenco made her stage debut with an ethereal voice, well balanced and meticulously refined in every detail of the partition. Her debut in the role of Gilda was made possible by the Special Prize awarded by the Iași Opera, through manager Andrei Fermeșanu, at the seventh edition of the ,„Elena Botez” Vocal Interpretation Contest in 2024. Her captivating presence is marked by intensity and meticulous attention to detail, offering the audience a profound interpretation that remains faithful to the sensitivity and classical harmony characteristic of Verdi’s opera.

Her arias carry an exceptional delicacy, with Caro nome acquiring a purity full of innocence. Though the emotions of her debut were perceptible toward the end of the second act, she managed to regain composure by the final duet, where, alongside Carlos Almaguer, she created a deeply moving atmosphere. From the moment she stepped on stage, she became a natural partner for the orchestra, facilitating a seamless and captivating musical dialogue in constructing the second act. Alongside her stage colleagues, Carlos Almaguer (Rigoletto) and Laura Scripcaru (Giovanna), she delivered a coherent and substantial musical experience to the audience.

On the same stage, Mihai Urzicana, known to the Iași audience for his role as Nadir in Les pêcheurs des perles by Georges Bizet debuted as the Duke of Mantua, offering a refined and expressive interpretation, particularly in articulation and pronunciation. His tone carried a distinctive candor, elevating the melodic line, and by the end, he imparted an elegant touch to the ensemble, both vocally and scenically. The famous aria La donna è mobile was delivered with a bright timbre and exuberant charisma. His lyrical tenor stature required clarity and agility in execution, precise diction, and luminous vocal projection, reflecting the playful energy of the character. His phrasing was well defined, with dynamic variations and an expressive style. Deserved applause honored Mihai Urzicana’s debut, captivating audiences with his artistry.

Returning to the role after a seven-year hiatus, Andrei Fermeșanu reprised the Duke of Mantua, offering a noble portrayal of the character. With impeccable preparation and a distinct timbre characteristic of a tenore di grazia, he authentically revived Verdi’s Duke. His phrasing and playful exchanges with colleagues foreshadowed the charm and dynamic nature of his interpretation. Questa o quella opened the spectacle with energy and elegance, highlighting the Duke’s seductive and nuanced persona. Confident in the melodic line, Andrei Fermeșanu maintained a balance between agility and ease, crafting a versatile stage presence in a bold approach that could rival his predecessors.

The moment of audience captivation remained to be determined by opera lovers, who warmly applauded both La donna è mobile and his spirited duet with Gilda. In contrast, Possente amor mi chiama showcased the power and intensity of the musical passage, highlighting his expressive delivery. The climactic finale, sustained high notes amplified by the vibrant orchestra, transformed the performance into an unforgettable experience, solidifying the artistic mastery of the entire production.

Noemi Onucu shared the stage with the tenor and impressed with her mature interpretation despite her young age. Her debut as Gilda marked the youngest debutante on the Iași opera stage but was far from premature, she naturally combined expressivity with the dramatic force required for the role. Her refined voice pointed toward future performances on great lyrical stages, while her duet passages revealed the character’s brilliance through her vocal styling.

Noemi Onucu as Gilda (debut)

In the second act, she displayed a slight timidity, which, instead, enhanced the emotional depth and sensitivity of Gilda. Her impeccable control over challenging passages and clear tone in Verdi’s demanding high notes elegantly outlined her character. Clothed in her delicate gown, Noemi Onucu symbolized the awakening of Gilda’s freedom, with her performance marked by deep commitment to the role. Caro nome resonated with hope, while Tutte le feste al tempio reflected her disillusionment, both attracting resounding applause.

Her performance demonstrated artistic responsibility, a promising voice characterized by brilliance, agility, and a generous range, signaling a remarkable future in the opera world. Her portrayal also hinted at the anticipation of revisiting the role to explore Gilda’s deeper facets, which the young artist appears to unveil progressively. Her intuition granted her, in the final act’s La tempesta è vicina, alongside Teodor Busnea (Sparafucile) and Florentina Onică (Maddalena), an intense, introspective moment highlighting Gilda’s profound tragedy. The storm of voices, supported by the orchestra, elevated the artistic intensity of the May 3 performance.

The Power of Musical Direction and Choral Excellence

In the latest performances, David Crescenzi’s conducting focused on harmonizing the melodic lines, highlighting lyrical voices, and fully exploring their subtle tonalities. Communication between the orchestra pit and the on-stage action became increasingly fluid and captivating, countering the skepticism of those who consider such an approach difficult, especially within an extensive repertoire with numerous performances and varied casts. However, a maestro of the baton like Crescenzi succeeded in balancing Verdi’s musical energy with expressive interpretative freedom.

Attention also turned to the choral ensemble, led by the male chorus under the direction of Manuel Giugula, an essential component of both performances. The orchestra, driven by intense string and thunderous timpani impulses, adapted rhythm and expression according to the solo voices, creating unforgettable moments. The male chorus became a benchmark for the soloists, inspiring them to achieve remarkable interpretative heights. Questa o quella intensified its energy to the peak, dispersing into the ether to underline the mystery of the conspiracy against Rigoletto. It supported Monterone’s tormented cause and concluded the precise rhythmic contribution of Zitti, zitti, moviamo a vendetta.

Dmytro Melnyk’s Powerful Interpretation of Monterone

Dmytro Melnyk delivers a commanding performance as Monterone, bringing a decisive force to his moment on stage. He stands out with authority from the choral ensemble, intensifying the drama of the scene in which he curses the Duke of Mantua. His presence breaks through the chorus’s looming threats, which descend like storm clouds over the opera theater. His line falls like lightning, "Sì, Monteron... la voce mia qual tuono vi scuoterà dovunque"—resonating with a harrowing intensity, amplifying themes of fate and revenge.

The performance unfolds under the banner of total dedication, and the baritone’s interpretation sets high expectations for the audience. Melnyk fully harnesses his vocal range, offering a robust sound quality and striking dramatic expressiveness. His curse is profoundly convincing, carrying an intensity that defines the entire scene. His resonant, authoritative voice dominates the orchestral ensemble, creating an undeniable moment of dramatic power. His performance evokes the imagery of a dragon breathing fire, seemingly consuming the atmosphere of the show. His gestures, simple and minimalist, accentuate his expressiveness, revealing an artist deeply rooted in his exceptional talent, who delivers every scenic moment with remarkable natural ease. What is distinctive about Melnyk’s portrayal of Monterone, beyond the deep, earth-dark quality of his tone is precisely the agility with which he vocalizes the character’s pain in the face of injustice.

Within this well-defined ensemble, Ștefan Linu makes his debut as Count Ceprano, standing out with his imposing and aristocratic presence. Though a secondary role, the expressive indignation he conveys in key moments highlights his bass potential and promising lyrical trajectory. Alongside him, Countess Ceprano, played with finesse and subtlety by Angelica Solomon, complements the scene’s dynamic. Florin Roman, as the Usher, and Silviu Stratulat, as the Page, make notable contributions, enhancing the fluidity and elegance of the production.

One of the most intense moments in Rigoletto is La tempesta è vicina, stunningly performed in both stagings of the production. On the first evening, Teodor Busnea, Florentina Onică, and Antonia Cucerenco brought this dramatic moment to life, while on the second night, Noemi Onucu joined in a memorable interpretation.

Teodor Busnea earns his place among the distinguished bass voices of the Iași Opera, embodying Sparafucile with a charismatic presence and a perfectly defined sense of menace. His sharp and brief lines enhance the feeling of imminent danger, while the deep draw of the double bass instrument seems to follow him even off-stage, resonating in a chilling timbre,"Spa-Ra-fu-cil." In the final trio, his voice shakes the stage, gripping the audience with its sheer intensity and vocal weight.

Florentina Onică embraces the role of Maddalena with experience and interpretative delight, adding a distinctive nuance to this enigmatic character. Her presence is strong and expressive, and her rich, harmonious timbre lends complexity to her performance. Her subtle charisma intertwines with refined theatrical expression, delivering a sophisticated portrayal. Onică demonstrates impeccable control in La tempesta è vicina, where the entire scene, set against the soprano’s backdrop, unveils the psychology of crime, an element meticulously crafted by the mezzo-soprano, who masks her intentions beneath seduction and beauty.

Through this collective high-caliber interpretation, the Iași lyrical stage reaffirms its status as a cultural landmark, not only in the local artistic sphere but also within the broader lyrical art community. It remains a valuable reference point for all those involved in supporting and promoting high culture. The ballet of the Romanian National Opera of Iași maintains the dynamic energy of its productions. The May 3, 2025, performance was recorded by TVR Iași and will be broadcast at a later date to be announced.

Photo credit and source: Luca Iuriciuc (Facebook/Opera Iași)