Bayerische Staatsoper, Munich, 14 March 2026
Giuseppe Verdi: Rigoletto
The new production of Verdi’s Rigoletto at the Bavarian State Opera, directed by Barbara Wysocka with stage design by Barbara Hanicka, places the opera in a contemporary, abstract setting. Hanicka’s design uses dark, minimalist architecture with reflective surfaces and shifting geometric structures that suggest different locations. The fragmented stage space mirrors the psychological tension and moral ambiguity of the drama.
The story unfolds within a modern circle of wealthy elites, with the Duke’s court resembling a decadent high-society gathering. Visual elements such as falling sheets of paper and video projections hint at hidden financial and power structures, emphasizing corruption and exploitation. Wysocka first appeared at the Bavarian State Opera in 2015 with a highly successful production of Lucia di Lammermoor and her staging of Rigoletto remains faithful to the plot (in a modern set) and avoids provocative reinterpretations; however, it offers little variation or striking theatrical invention, leaving few especially memorable images.
Musically, Maurizio Benini leads the Bayerisches Staatsorchester with an iron hand and fiery flow, achieving an ideal Verdian balance of passion and precision. At the same time, he takes risks and experiments boldly with dynamics, resulting in a highly personal interpretation of the score—one of the most individual Verdi readings heard here in quite some time.
Among the singers, Bekhzod Davronov as the Duke delivers a technically correct performance and hits all the notes, yet lacks the lightning brilliance and charm the role demands; his voice also feels somewhat small for a house of this size. Serena Sáenz as Gilda creates an ideally innocent and naïve character, pairing a ringing coloratura soprano with excellent technique. Ariunbaatar Ganbaatar in the title role proves the strongest card of the cast, bringing both dramatic intensity and determination to his portrayal of Rigoletto.
All in all, the result is a convincing production without any creative sharp edges – one that could remain in the repertoire for a long time, even if it does not offer a particularly deep or revealing exploration of Verdi’s dramatic vision.