1/ I’ve written b4 about my theory that RIGOLETTO transformed opera itself, by evoking Aristotelian pity & terror more than opera had ever done, and by giving us a hero/antihero who is radically the best and worst of men. Never b4 had opera had such universality, as demonstrated https://twitter.com/metopera/status/1355652078245392385

2/ by this updating - from 16thc Mantua to Vegas in 1960 - that is both radical and thoroughly faithful. Now I hear that *another* new RIGOLETTO is in the works, pandemic permitting. Ie, junking this one after 10 yrs. That’s too short a span. With money tight, RIGOLETTO bucks

3/ shd be spent preserving and reviving this one longer. Ok, the hump shd be restored, but I don’t think any new prodn will do that in this age of irritable -isms. And a major sign of how RIGOLETTO resounds across the ages will be lost. So see it tonight/tomorrow!

4/ In this production, the final act set prominently includes a car belonging to the hit man Sparafucile (in Italian, “spahr-a-foo-CHEEL-ay”).

Quick tight shot of NV license plate: “SPARFUC.”

Pr’ly result of drinks after a rehearsal. But I’m glad they put it in.