Two Birds, One Stone

The complexity of the human condition is such that one experience may elicit a number of responses, perhaps even involving contradictions. A case in point appears in Gilda’s aria “Tutte le feste al tempio” (On festive [days] at the church) in Act II of Verdi’s opera Rigoletto. The Duke’s courtiers have abducted Gilda (end of Act I) and have brought her to the Duke’s bedchambers. After much pleading Rigoletto succeeds to enlist the courtiers’ sympathies; Gilda emerges from the Duke’s apartment and is reunited with Rigoletto. At this point in the story, Verdi introduces Gilda’s narrative. [https://youtu.be/3E6Bj78oaNI]. The aria is a synopsis of Gilda’s account of her experiences beginning with her initial contacts with the Duke through and including her abduction. In the portion of the aria (2:30 – 3:14), Gilda describes the abduction. However, by paying close attention to the pace and the tempo of the background, we may also be able to conjure up the vision of a marching band being led down Main Street by a young, proud, high-stepping majorette twirling her baton. If this sounds odd and discordant consider the situation. True. Gilda underwent a harrowing and frightful ordeal, but she had a positive experience as well. Gilda entered the Duke’s bedchamber a virgin and emerged a woman and proud as any of the change in status. She wasn’t raped; she was made love to by an expert. The entire experience was both frightful and prideful. Verdi’s music describes the total experience in his usually masterful way that attests to his deep understanding of the human soul and the composer’s sensitivity to people. This interpretation will also account for and explain Gilda’s comment “Ciel! Dammi corragio” (Heaven! give me courage.) that immediately precedes the aria. The courage is twofold – to tell of the abduction and of her first sexual experience.