THESE two seminal works by Guiseppe Verdi, directed and produced by Ellen Kent, are given stagings which purport to be historically accurate.

For Rigoletto, this means a costume drama but the interpretation, production values and performances do not convince.

Baritone Vladimir Dragos as court jester Rigoletto is in fine voice, as is soprano Maria Tonina as his daughter Gilda, but that’s as good as it gets.

In a bid to be edgy the licentious court of the Duke of Mantua (tenor Giorgi Meladze) is portrayed as a sinful den of lust as the women cavort naked.

This brings nothing to the opera other than a rather seedy voyeuristic opportunity for young women to be leered at. It’s striking that the male characters all keep their clothes on.

The appearance of a live golden eagle draws all eyes to the magnificent bird but, with the acting only so-so, it’s one of the few moments where — for the wrong reason — the production engages.

The sound of the stage machinery when Rigoletto is cursed removes any frisson of dramatic tension in what is a misogynistic interpretation of what ought to be a compelling story.

When La Traviata is performed with sensitivity it is emotionally engaging. But the production here is a mixed bag, with tenor Ruslan Zinevych as a gauche and unworldly-wise Alfredo falling in love with courtesan Violetta.

Zinevych is moving and believable as a love-struck suitor trying to persuade soprano Alyona Kistenyova’s fallen woman.

Vladimir Dragos as Alfredo’s father has a wonderful duet with Kistenyova yet the dying Violetta’s final scene is marred by the unseemly haste to drop the curtain just as Violetta dies. A huge shame, but unsurprising in what proves to be a shambolic exercise.

Both productions are touring and there are a lot of wrinkles to be ironed out. Let’s hope that’s the case.

review by David Nicholson