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Caro nome by Giuseppe Verdi is a captivating and memorable aria from his renowned opera, Rigoletto. This song is sung by the character Gilda, who is deeply infatuated with a man she knows as Gualtier Maldè, not realizing that he is actually the Duke of Mantua in disguise.
"Caro nome" is Gilda's first extended expression of independent emotions, and shows both her tenderness and her simplicity. The aria is preceded by a shimmering figuration described by Verdi scholar Julian Budden as an example of Verdi's finest woodwind writing.
Mar 10, 2019 · Verdi wrote "Caro Nome" for a very high soprano, an interesting twist on his typical approach to such works. The aria also has what some scholars note as the composer's best work for woodwinds.
- Overview
- Background and context
- Cast and vocal parts
- Setting and story summary
- Act I
- Act II
- Act III
Rigoletto, opera in three acts by Italian composer Giuseppe Verdi (Italian libretto by Francesco Maria Piave) that premiered at La Fenice opera house in Venice on March 11, 1851. Based closely on the controversial 1832 play Le Roi s’amuse (The King Amuses Himself; also performed in English as The King’s Fool) by Victor Hugo, Verdi’s opera was nearl...
Verdi had agreed in 1850 to write an opera for La Fenice in Venice, where Piave, one of his favourite librettists, was the resident poet. The composer was eager to adapt Hugo’s Le Roi s’amuse, which he declared “the greatest subject and perhaps the greatest drama of modern times.” Verdi also said that the title character, called Tribolet in the play, was “worthy of Shakespeare.” The composer, librettist, and theatre management were aware that getting the libretto through the censorship process could be a challenge. The play had premiered in 1832 but was banned after only one performance when the French government, horrified by its disrespectful portrayal of a monarch, declared it immoral.
Northern Italy was at the time controlled by the Austrian Empire. (See Italy: The Vienna settlement.) If Verdi wished to stage an opera in Milan or Venice, two cities central to his career, he needed permission from both Austrian and local authorities. Very early in their work on the libretto, under the title La maledizione (“The Curse”), Verdi and Piave began revising the story so that they would avoid problems with the censors. They changed the lecherous and debauched king to a duke, transposed the setting to Italy, and made adjustments to decrease some of the more shocking aspects of the violent story. As Verdi had wished, however, the duke’s antagonist remained a cruel hunchbacked jester. They had not expected to have problems with the censors. Yet back-and-forth demands and responses, first from the Austrian censor and next from the local authorities, continued almost until the opera opened. Under its final title, Rigoletto, the premiere was well received. Two years later Verdi insisted that the opera had “the best, the most effective subject I have so far set to music.”
Rigoletto is an acknowledged masterpiece that demonstrates Verdi’s complete grasp of his musical materials. The action proceeds almost continuously, so the audience rarely perceives artificial breaks for conventional arias. The orchestra conveys moods and unspoken emotion, perhaps most notably in the storm music of the final act. Even minor characters are delineated musically—for example, through distinctive rhythmic, melodic, or harmonic patterns. The quartet “Bella figlia dell’ amore,” is a marvel of simultaneous characterization, beautifully integrated into the larger context. In fact, upon seeing Rigoletto in Paris, Victor Hugo himself wrote about the quartet:
If I could only make four characters in my plays speak at the same time, and have the audience grasp the words and the sentiments, I would obtain the very same effect.
•The Duke of Mantua (tenor)
•Rigoletto, the Duke’s jester (baritone)
•Gilda, Rigoletto’s daughter (soprano)
•Sparafucile, hired assassin (bass)
•Maddalena, Sparafucile’s sister (mezzo-soprano)
•Count Ceprano, a nobleman (bass)
Rigoletto is set in Mantua, Italy, in the 16th century.
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Scene 1. The Duke of Mantua’s palace.
At a splendid ball in his palace, the Duke of Mantua boasts to his retainer, Borsa, of his plan to finish his conquest of a young woman who has been at church every Sunday for three months. He has discovered where she lives, and every night he sees a mysterious man enter her house. The Duke has not revealed his identity to the woman. Borsa, meanwhile, admires the ladies at the ball, and the Duke is particularly taken with the wife of Count Ceprano. Borsa warns that if Ceprano were to find out, he might tell the young woman. But the Duke does not care; all women are the same to him (“Questa o quella”). As Countess Ceprano passes by, the Duke flirts with her and escorts her out of the room. Rigoletto, the Duke’s hunchbacked jester, mocks the sullen Count Ceprano, who follows them out in a huff. Rigoletto joins them, laughing.
Marullo, another of the Duke’s retainers, comes in with big news: Rigoletto has a mistress! The courtiers suppress their laughter as Rigoletto arrives with the Duke, who is whispering to the jester that Ceprano is a pest and his wife an angel. Rigoletto advises the Duke, in a voice loud enough for the Count to hear, to carry the Countess off and imprison or execute her husband. Ceprano is enraged. The Duke warns Rigoletto that he has gone too far, but Rigoletto does not care. The courtiers and ladies enjoy the scene immensely. The merriment is interrupted by the sudden entrance of Count Monterone, who threatens the Duke. Rigoletto mocks him for complaining that the Duke has seduced his daughter. Outraged, Monterone swears vengeance. The Duke orders his arrest. As he is led away, Monterone places a curse upon the Duke and Rigoletto for laughing at a father’s grief. Rigoletto is visibly shaken.
Scene 2. An alley outside Rigoletto’s house.
Rigoletto is still upset by Monterone’s curse. A strange man, the sinister Sparafucile, accosts him. He reveals his sword and offers to free Rigoletto from the man who cursed him. The killer’s attractive sister, Maddalena, will lure the victim to their house, where Sparafucile will quietly execute him. Rigoletto declines the offer, and Sparafucile says that he can be found in the alley every night. After dismissing him, Rigoletto reflects that they are alike: both destroy others—Rigoletto with his wit and acerbic tongue, Sparafucile with his sword (“Pari siamo”). He reflects again on Monterone’s curse and rails at Nature for making him deformed and wicked, with no choice but to be a buffoon and no solace but in mocking the Duke’s courtiers.
Rigoletto shakes off his fears and enters the courtyard of his house, where Gilda, his young daughter, throws herself into his arms. Noticing that her father is troubled, she begs him to tell her what is wrong. Gilda, not knowing her own history, wants him to tell her who he really is and who her mother was. Rigoletto, sighing, describes his lost love, a woman who loved him despite his deformity and poverty. Sadly, she died, leaving Gilda to console him. He will not tell her anything else, only that she is his whole life. Gilda accepts his reticence and asks permission to go out into the city, which she has yet to explore. Rigoletto adamantly refuses and pointedly asks if she has already gone out. She says no, and he warns her to be careful. Secretly, he fears that the courtiers will find Gilda and dishonour her. He calls for her nurse, Giovanna, and asks whether anyone has been to the house. She says no, and Rigoletto urges her to keep a close watch on Gilda. His daughter proceeds to comfort him with the image of her mother watching over them from heaven.
A drawing room in the Duke’s palace.
The Duke, having discovered that Gilda has been taken, but not by whom, rails against her abductors and vows revenge (“Ella mi fu rapita”). Marullo and the others arrive with the news that Rigoletto’s mistress has been kidnapped. The Duke, amused, asks to hear how it was done; as they do so, he realizes that the abducted woman is Gilda. He is overjoyed to learn that they have brought her to his own palace, and he hurries off to see her.
Meanwhile, Rigoletto shuffles in, singing of his grief. The courtiers pretend to feel sorry for him and ask him what is new. As he answers sarcastically, he looks around for clues about where Gilda might be. He finds a handkerchief, but it is not hers. When he asks about the Duke, they say that he is sleeping. Just then a page enters with a message from the Duchess. The courtiers firmly turn him away, first saying that the Duke is out hunting, then that he cannot see anyone right now. Rigoletto realizes that Gilda is with the Duke. The courtiers mock him for losing his mistress, but he reveals that the young woman is actually his daughter. He tries to run into the other room, but they block him. He threatens them, but to no avail (“Cortigiani”). Then he begs for their pity, but they ignore him.
Gilda rushes in, weeping for shame. Rigoletto orders the courtiers to leave. They do so, but they stay nearby to watch him. Gilda tells her father about how she saw a handsome young student at church and fell in love with him at first sight, how he suddenly appeared to declare his love, and how she was abducted soon after (“Tutte le feste al tempio”). Rigoletto consoles her and says they can leave after he does what he has to do.
Outside Sparafucile’s house, by the river.
Rigoletto asks Gilda if she still loves the Duke; she replies that she will love him forever, because he loves her. To prove her wrong, Rigoletto leads her over to an opening in the wall of Sparafucile’s house and tells her to watch. She can see the Duke enter the room and ask Sparafucile for a room and some wine. The Duke sings of woman’s fickleness (“La donna è mobile”). At Sparafucile’s signal, his sister, Maddalena, comes downstairs. The Duke begins to flirt with her. Meanwhile, Sparafucile comes out of the house, draws Rigoletto aside, and asks if the Duke should live or die. Rigoletto says that he will come back later to discuss this. Sparafucile goes off behind the house.
From outside the house, Gilda and Rigoletto watch as the Duke pursues Maddalena. Gilda is in agony but cannot tear herself away, though Rigoletto keeps asking her whether she has had enough (Quartet: “Bella figlia dell’amore”). Rigoletto urges her to go home, change into the male clothing that he has prepared for her as a disguise, and flee to Verona; he will join her tomorrow.
After she leaves, Rigoletto fetches Sparafucile and pays him half the money for the murder. When Rigoletto says he will return at midnight, Sparafucile replies that it is unnecessary and offers to take care of throwing the body in the river. But Rigoletto insists on doing that himself. Sparafucile asks the victim’s name. Rigoletto replies as he leaves, “He is Crime, and I am Punishment.”
A storm is brewing. Sparafucile enters the house; the Duke and Maddalena are still flirting. Knowing the plan, she secretly urges the Duke to leave, but he refuses because of the storm. Sparafucile takes her aside and shows her the money. Then he invites the Duke to stay for the night. The Duke agrees and, lightly singing his “woman is fickle” tune, falls asleep. Maddalena has fallen for the Duke, but Sparafucile is focused on the money. Meanwhile, the storm is worsening. Gilda reappears outside the house, dressed as a man. She looks through the crack in the wall and overhears Maddalena trying to persuade her brother not to kill the Duke. She suggests that when Rigoletto returns with the rest of the money, they kill him instead. But Sparafucile replies that he is no thief. He suggests that if someone else comes to the house before Rigoletto’s return, that person can die in the Duke’s stead; the body of that man will then be delivered to the jester. Maddalena does not think anyone will be coming in such a storm. But this gives Gilda an idea. Seeing Maddalena weep for the Duke makes Gilda determined to substitute her own life for his. At the height of the storm, she pounds on the door and cries out that she is a beggar in need of shelter. Sparafucile, thinking again of the money, gets his dagger ready. Maddalena opens the door, Gilda rushes in, and Sparafucile strikes as everything goes dark.
The storm has abated. Rigoletto arrives, savouring the moment of vengeance. As midnight strikes, he knocks on the door. Sparafucile informs him that the deed is done and shows him a sack with a body in it, but the killer refuses to give Rigoletto a light by which he can identify the body until he is paid the rest of the money. Sparafucile suggests that they quickly throw the body in the water, but Rigoletto wants to do it himself. Sparafucile takes the money and bids him good night.
Dec 15, 2021 · While Verdi cleverly wrote some of his most charming music for the Duke, Gilda’s music is sublimely beautiful. Her aria ‘ Caro nome ’, a musing on the name of the man she has fallen in love with, is technically virtuosic and very exposed, but the melody floats and dances.
Arias such as “Caro nome” employ coloratura to suggest a dramatic subtext, uncovering the inner psychological voice of the character. Close readings of these arias suggest that Verdi’s use of coloratura serves as an omen, foreshadowing tragedy for the character singing.
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May 28, 2020 · Song title: "Caro nome che il mio cor" ("Sweet name that made my heart") Opera: Rigoletto. Composer: Giuseppe Verdi. Year Written: 1851. Language: Italian. Performance dates: October 7 – November 3, 2017. Artists: Rosa Feola (Gilda) and the Lyric Opera Orchestra under Maestro Marco Armiliato
