Rigoletto - Verdi
2012, 2014, 2019, 2022

"Hume’s Rigoletto, in which the interior of the Duke’s palace looms over many of the opera’s scenes, proved an ideal fit for the musical drama. Hers is an extremely attractive, unified, and unforced update that makes the opera more real and emotionally impactful than any production of Rigoletto I’ve witnessed."

Classical Voice, 2019

"Hume’s theatrical vision…was exceptional. Sets range from a crushingly grand representation of the Duke’s palace (complete with banks of video screens) to sketchy glimpses of a bus shelter, a dive bar, rooms in Rigoletto’s shabby home, often in disquieting motion as if to emphasize the fragility of the powerless…this is a production as nasty as the piece itself, and works in a way which conventional productions regularly fail to do."

Vancouver Sun, 2019

"Director Lindy Hume has crafted such a detailed world that the “most unexpected twist” promised by the publicity material is the density of the world rather than the twists and turns of the plot."

The Lumiére Reader, 2012

"Timelessly timely: a dark and damning Rigoletto in Seattle
Hume initially modelled her depiction of the opera’s milieu of debauchery after the circle of former Italian Prime Minister Silvio Berlusconi. But the staging readily evokes even more up-to-date dens of corruption where predator billionaires, assured of impunity, bask in excess. But Hume also shows the violence that goes along with this regime. In his angst over his daughter Gilda's protection, we see the jester tense up and harshly strike Giovanna - much as he is the victim of physical violence at the court. Hume emphasises that the women themselves have been subjected to dehumanising abuse to the point of internalising it. Like Gilda, Maddalena falls for the Duke and wants to protect him, and in this staging, she's the one who kills the disguised Gilda."

Bachtrack

"Hume’s Rigoletto, in which the interior of the Duke’s palace looms over many of the opera’s scenes, proved an ideal fit for the musical drama. Hers is an extremely attractive, unified, and unforced update that makes the opera more real and emotionally impactful than any production of Rigoletto I’ve witnessed."

Classical Voice, 2019

"Hume’s theatrical vision…was exceptional. Sets range from a crushingly grand representation of the Duke’s palace (complete with banks of video screens) to sketchy glimpses of a bus shelter, a dive bar, rooms in Rigoletto’s shabby home, often in disquieting motion as if to emphasize the fragility of the powerless…this is a production as nasty as the piece itself, and works in a way which conventional productions regularly fail to do."

Vancouver Sun, 2019

"Director Lindy Hume has crafted such a detailed world that the “most unexpected twist” promised by the publicity material is the density of the world rather than the twists and turns of the plot."

The Lumiére Reader, 2012

"Timelessly timely: a dark and damning Rigoletto in Seattle
Hume initially modelled her depiction of the opera’s milieu of debauchery after the circle of former Italian Prime Minister Silvio Berlusconi. But the staging readily evokes even more up-to-date dens of corruption where predator billionaires, assured of impunity, bask in excess. But Hume also shows the violence that goes along with this regime. In his angst over his daughter Gilda's protection, we see the jester tense up and harshly strike Giovanna - much as he is the victim of physical violence at the court. Hume emphasises that the women themselves have been subjected to dehumanising abuse to the point of internalising it. Like Gilda, Maddalena falls for the Duke and wants to protect him, and in this staging, she's the one who kills the disguised Gilda."

Bachtrack

"Hume’s Rigoletto, in which the interior of the Duke’s palace looms over many of the opera’s scenes, proved an ideal fit for the musical drama. Hers is an extremely attractive, unified, and unforced update that makes the opera more real and emotionally impactful than any production of Rigoletto I’ve witnessed."

Classical Voice, 2019

"Hume’s theatrical vision…was exceptional. Sets range from a crushingly grand representation of the Duke’s palace (complete with banks of video screens) to sketchy glimpses of a bus shelter, a dive bar, rooms in Rigoletto’s shabby home, often in disquieting motion as if to emphasize the fragility of the powerless…this is a production as nasty as the piece itself, and works in a way which conventional productions regularly fail to do."

Vancouver Sun, 2019

"Director Lindy Hume has crafted such a detailed world that the “most unexpected twist” promised by the publicity material is the density of the world rather than the twists and turns of the plot."

The Lumiére Reader, 2012

"Timelessly timely: a dark and damning Rigoletto in Seattle
Hume initially modelled her depiction of the opera’s milieu of debauchery after the circle of former Italian Prime Minister Silvio Berlusconi. But the staging readily evokes even more up-to-date dens of corruption where predator billionaires, assured of impunity, bask in excess. But Hume also shows the violence that goes along with this regime. In his angst over his daughter Gilda's protection, we see the jester tense up and harshly strike Giovanna - much as he is the victim of physical violence at the court. Hume emphasises that the women themselves have been subjected to dehumanising abuse to the point of internalising it. Like Gilda, Maddalena falls for the Duke and wants to protect him, and in this staging, she's the one who kills the disguised Gilda."

Bachtrack

© 2023 Lindy Hume

© 2022 Lindy Hume

© 2022 Lindy Hume

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