How do you celebrate the birthday of the greatest maestro of all time — on his actual birthday?
Well, the answer was obvious: go to La Scala to see Rigoletto.

And this event wasn’t just the perfect excuse to return to the capital of Lombardy — it was also a golden opportunity to see the incredible Amartuvshin Enkhbat, the sparkling and talented Swiss soprano Regula Mühlemann, and the elegant bel canto tenor Galeano Salas, whom I’d already had the pleasure of seeing earlier this summer in Verona, singing La Traviata!

Let’s start with Amartuvshin Enkhbat — who, by now, really needs no introduction. That voice, that power, that humility (which, honestly, some singers could take lessons from). There’s a reason the greatest opera house in the world called him to sing this role: alongside Ludovic Tézier, these two form what I call the “invisible bond” — the finest two Verdian baritones alive today.
Having seen Tézier in Verona this summer and Enkhbat again tonight, I can tell you, ladies and gentlemen: this is world-class singing. Even with tonight’s utterly bland, lifeless staging — one that gave no justice to the singers or the drama (special mention to the end of Act I, where Rigoletto shouts “La Maledizione” from the very back of the stage — when it’s the exact moment he should be right up front tearing our hearts out before the espresso break!) — even with that, the Mongolian baritone carried the entire show with unwavering class from start to finish.

I was lucky enough to spend a bit of time with Regula Mühlemann two hours before last week’s prova generale of Rigoletto, and honestly, I can’t imagine what it must feel like to step onto La Scala’s stage for the very first time. With her immense talent and her solid German repertoire background, the Swiss soprano from beautiful Lucerne shone brilliantly tonight. Her high notes sounded as if they were crafted by Mozart or Strauss themselves — pure, crystalline, effortless. Her stage presence was commanding, her duets with Enkhbat were gorgeous, and her entrance in Act II — after being deceived by the Duke — was simply striking. The final duet, the death scene, was a highlight for me — I was sitting just a few meters away in the second row of the platea, and it was goosebump material.
Huge bravo to my fellow Swiss compatriot — I wish her a bright and glorious future in the Verdian repertoire. Viva Verdi, always!

There’s no denying it: Galeano Salas is a bel canto tenor through and through — you can tell from the very first notes, and honestly, it’s refreshing to hear a tenor of that school sing Verdi. Especially Rigoletto, which sits just one step away from a Donizetti or Bellini role. Our Mexican-American friend jumped in at the last minute for the dress rehearsal, replacing the ailing Dmitry Korchak — and then went on to sing the premiere, tonight’s performance, and will do it again next week.
I truly enjoyed listening to him — especially during his first aria at the beginning of Act II, which earned him well-deserved applause before the orchestra could even breathe again.

A big shoutout as well to Martina Belli and Gianluca Buratto, who together must have sung Maddalena and Sparafucile more times than anyone could count! Gianluca was already the Sparafucile in Verona, and Martina was also the Maddalena there! And you know what they say: to build a great pyramid, you need a solid foundation — and these two artists provide exactly that. Their chemistry and mastery elevate this already stellar cast even higher. Martina brings a sensuality that could make a monk fall in love, and Gianluca’s acting could make DiCaprio jealous.

Marco Armiliato conducted the orchestra tonight — solid, structured, no real fireworks or surprises, but everything held together beautifully. Still, I wish for just a touch more madness, that sense of electricity that makes you want to jump out of your seat.
Special mention, though, to the cellists tonight — they played their strings with perfection!

CAST