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daughter. He first demands, then tearfully pleads with the courtiers to return her to him: "Cortigiani, vil razza dannata" ("Accursed race of courtiers"). Rigoletto attempts to run into the room in which Gilda is being held, but the courtiers block his way. After a time, Gilda enters, and
Rigoletto orders the courtiers to leave him alone with her. The courtiers leave the room, believing Rigoletto has gone mad. Gilda describes to her father what has happened to her in the palace: "Tutte le feste al tempio" ("On all the holy days") and he attempts to console her. Monterone is led across the room on the way to prison and pauses in front of the portrait of the Duke to regret that his curse on the libertine has had no effect. As the guards lead Monterone away, Rigoletto mutters that the old man is mistaken; he, Rigoletto, the dishonored buffoon, shall make thunder and lightning rain from heaven onto the offender's head. He repeats this vow as Gilda pleads for mercy for her lover the Duke: Duet:"Sì! Vendetta, tremenda vendetta!" ("Yes! Revenge, terrible revenge!").
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428:", which was sung in the streets the next morning (Verdi had maximised the aria's impact by only revealing it to the cast and orchestra a few hours before the premiere, and forbidding them to sing, whistle or even think of the melody outside of the theatre). Many years later, Giulia Cora Varesi, the daughter of Felice Varesi (the original Rigoletto), described her father's performance at the premiere. Varesi was very uncomfortable with the false hump he had to wear; he was so uncertain that, even though he was quite an experienced singer, he had a panic attack when it was his turn to enter the stage. Verdi immediately realised he was paralysed and roughly pushed him on the stage, so he appeared with a clumsy tumble. The audience, thinking it was an intentional gag, was very amused.
969:. On the left is a two-story house, half ruined. Through a large arch on the ground floor a rustic tavern can be seen as well as a rough stone staircase that leads to an attic room with a small bed which is in full view as there are no shutters. In the wall downstairs that faces the street is a door that opens to the inside. The wall is so full of holes and cracks that everything that happens inside is easily seen from the exterior. At the back of the stage are deserted areas by the river which flows behind a parapet that has half collapsed into ruins. Beyond the river is Mantua. It is night. Gilda and Rigoletto, both uneasy, are standing in the road; Sparafucile is seated at a table in the tavern.
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later, should the need arise. Sparafucile wanders off, after repeating his own name a few times. Rigoletto contemplates the similarities between the two of them: "Pari siamo!" ("We are alike!"); Sparafucile kills men with his sword, and
Rigoletto uses "a tongue of malice" to stab his victims. Rigoletto opens a door in the wall and embraces his daughter Gilda. They greet each other warmly: "Figlia!" "Mio padre!" ("Daughter!" "My father!"). Rigoletto has been concealing his daughter from the Duke and the rest of the city, and she does not know her father's occupation. Since he has forbidden her to appear in public, she has been nowhere except to church and does not even know her own father's name.
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As she declares her love, the Duke enters, overjoyed. Gilda, alarmed, calls for
Giovanna, unaware that the Duke had given her money to go away. Pretending to be a student, the Duke convinces Gilda of his love: "È il sol dell'anima" ("Love is the sunshine of the soul"). When she asks for his name, he hesitantly calls himself Gualtier Maldè. Hearing sounds and fearing that her father has returned, Gilda sends the Duke away after they quickly trade vows of love: "Addio, addio" ("Farewell, farewell"). Alone, Gilda meditates on her love for the Duke, who she believes is a student: "Gualtier Maldè!...
309:, in which the sovereign was a duke and both the hunchback and the curse disappeared. Verdi was completely against this proposed solution, preferring to negotiate directly with the censors over each and every point of the work. Brenna, La Fenice's sympathetic secretary, mediated the dispute by showing the Austrians some letters and articles depicting the bad character, but great value, of the artist. By January 1851 the parties had settled on a compromise: the action of the opera would be moved, and some of the characters would be renamed. In the new version, the Duke would preside over
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Countess
Ceprano. He sees that they are masked and asks for a mask for himself; while they are tying the mask onto his face, they also blindfold him. Blindfolded and deceived, he holds the ladder steady while they climb up to Gilda's room: Chorus: "Zitti, zitti" ("Softly, softly"). With her father's unknowing assistance Gilda is carried away by the courtiers. Left alone, Rigoletto removes his mask and blindfold, and realizes that it was in fact Gilda who was carried away. He collapses in despair, remembering the old man's curse.
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By their description, he recognizes it to be Gilda and rushes off to the room where she is held: "Possente amor mi chiama" ("Mighty love beckons me"). Rigoletto enters singing and feigning nonchalance, but also looking anxiously for any trace of Gilda, who he fears may have fallen into the hands of the Duke. The courtiers pretend not to notice his anxiety, but quietly laugh at him with each other. A
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288:, Verdi's hometown, to prepare a defensive scheme as they continued work on the opera. Despite their best efforts, including frantic correspondence with La Fenice, the Austrian censor De Gorzkowski emphatically denied consent to the production of "La Maledizione" (its working title) in a December 1850 letter, calling the opera "a repugnant immorality and obscene triviality."
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362:). Due to a high risk of unauthorised copying, Verdi demanded extreme secrecy from all his singers and musicians, particularly Mirate: the "Duke" had the use of his score for only a few evenings before the première, and was made to swear that he would not sing or even whistle the tune of "La donna è mobile" except during rehearsal.
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reluctant but promises her that if by midnight another victim can be found, he will kill the other instead of the Duke. Gilda, overhearing this exchange, resolves to sacrifice herself for the Duke, and enters the house: "Trio: Se pria ch'abbia il mezzo la notte toccato". Sparafucile stabs her and she collapses, mortally wounded.
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186:(The Curse), refers to a curse placed on both the Duke and Rigoletto by the Count Monterone, whose daughter the Duke has seduced with Rigoletto's encouragement. The curse comes to fruition when Gilda falls in love with the Duke and sacrifices her life to save him from the assassin hired by her father.
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Symphony was: "the barriers between formal melody and recitative are down as never before. In the whole opera, there is only one conventional double aria no concerted act finales." Verdi used that same word—"revolutionary"—in a letter to Piave, and Budden also refers to a letter which Verdi wrote in
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The famous quartet in act three is actually a double duet with each of the characters given a musical identity—the ardent wooing of the Duke, with the main melody, as
Maddalena laughingly puts him off, while outside Gilda has a sobbing figure in her vocal line and her father implacably urges revenge.
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In its great variety of tone and texture, its use of instrumental resources (the orchestra in the pit, an offstage band, and a chamber ensemble of strings on the stage), its dramatic pacing and the way the music is continuous rather than consisting of one "number" after another, this concise opening
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Victor Hugo resented his play, which had been banned in France, being transformed into an
Italian opera and considered it plagiarism (there were no copyright restrictions against this at the time). When Hugo attended a performance of the opera in Paris, however, he marveled at the way Verdi's music
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The Duke is concerned that Gilda has disappeared: "Ella mi fu rapita!" ("She was stolen from me!") and "Parmi veder le lagrime" ("I seem to see tears"). The courtiers then enter and inform him that they have captured
Rigoletto's mistress: Chorus: "Scorrendo uniti" ("We went together at nightfall").
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When
Rigoletto has gone, the Duke appears and overhears Gilda confess to her nurse Giovanna that she feels guilty for not having told her father about a young man she had met at the church. She says that she fell in love with him, but that she would love him even more if he were a student and poor.
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The central storm scene is, so to speak, a film with sound, whose moving images show an exterior and interior drama. The furtive encounters between people in the darkness, irregularly broken by lightning, are exposed by the empty fifths, the tremolos of strings, the brief breakthroughs of the wind
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Later, Rigoletto returns: "Riedo!... perché?" ("I've returned!... why?"), while the hostile courtiers outside the walled garden (believing Gilda to be the jester's mistress, unaware she is his daughter) get ready to abduct the helpless girl. They tell
Rigoletto that they are actually abducting the
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Preoccupied with the old man's curse, Rigoletto approaches the house where he is concealing his daughter from the world and is accosted by the assassin
Sparafucile, who walks up to him and offers his services. Rigoletto declines for the moment, but leaves open the possibility of hiring Sparafucile
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Scene 1: Mantua. A magnificent hall in the ducal palace. Doors at the back open into other rooms, splendidly lit up. A crowd of lords and ladies in grand costumes are seen walking about in the rear rooms; page boys come and go. The festivities are at their height. Music is heard from offstage. The
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Verdi finally completed the composition on 5 February 1851, a little more than a month before the premiere. Piave had already arranged for the sets to be designed while Verdi was still working on the final stages of act 3. The singers were given some of their music to learn on 7 February. However,
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Scene 2: The end of a dead-end street. On the left, a house of discreet appearance with one small courtyard surrounded by walls. In the yard there is one tall tree and a marble seat; in the wall, a door that leads to the street; above the wall, a terrace supported by arches. The second floor door
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arrives with a message from the Duke's wife – the Duchess wishes to speak to her husband – but the courtiers reply suggestively that the Duke cannot be disturbed at the moment. Rigoletto realizes this must mean that Gilda is with the Duke. To the courtiers' surprise, he reveals that Gilda is his
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At midnight, when Rigoletto arrives with money, he receives a corpse wrapped in a sack, and rejoices in his triumph. Weighting it with stones, he is about to cast the sack into the river when he hears the voice of the Duke, sleepily singing a reprise of his "La donna è mobile" aria. Bewildered,
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Gilda, who still loves the Duke despite knowing him to be unfaithful, returns dressed as a man and stands outside the house. Maddalena, who is smitten with the Duke, begs Sparafucile to spare his life: "È amabile invero cotal giovinotto/ Ah, più non ragiono!". Sparafucile, a man of his word, is
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is not an interlude between acts or scenes, but is totally integrated into the unfolding of the plot, with its strings in the bass register, its interventions of oboe and piccolo, and especially the male chorus behind the scenes humming through closed mouths to create the sound of the wind, a
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is based on the theme of the curse, intoned quietly on brass at first and building in intensity until it bursts into a passionate outcry by the full orchestra, subsiding once more and ending with repeated drum rolls alternating with brass, cumulatively increasing in volume to come to a somber
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The duet between Rigoletto and Sparafucile that opens the second scene of the first act is also unprecedented in its structure, being a free-ranging dialogue with melodies not in the voices but in the orchestra, on a solo cello, solo bass, and low woodwinds to create a distinctive sinister
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Although immensely successful with audiences from the beginning, many critics in various countries condemned the work for its dark and bitterly tragic plot combined with a succession of mere popular tunes, as they thought of the music. After the first performance in Venice in 1851 the
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while the Duke and his courtiers have a lighthearted conversation. The Duke sings the cynical "Questa o quella" to a flippant tune and then further contrast is again achieved as he attempts to seduce the Countess Ceprano while the strings of a chamber orchestra onstage play an elegant
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Rigoletto opens the sack and, to his despair, discovers his dying daughter. For a moment, she revives and declares she is glad to die for her beloved: "V'ho ingannato" ("Father, I deceived you"). She dies in his arms. Rigoletto cries out in horror: "La maledizione!" ("The curse!")
260:("The king amuses himself"). Verdi later explained that "The subject is grand, immense, and there is a character that is one of the greatest creations that the theatre can boast of, in any country and in all history." However, Hugo's depiction of a venal, cynical, womanizing king (
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1068:" ("Woman is fickle"). Sparafucile's sister, Maddalena, has lured him to the house. Rigoletto and Gilda listen from outside as the Duke flirts with Maddalena. Gilda laments that the Duke is unfaithful; Rigoletto assures her that he is arranging revenge: "
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Verdi kept at least a third of the score at Busseto. He brought it with him when he arrived in Venice for the rehearsals on 19 February, and would continue refining the orchestration throughout the rehearsal period. For the première, La Fenice had cast
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of July 24, 1859: "It is well known that this shoddy work presents all the vices and virtues of Verdi's music: light music, pleasant dance rhythms for frightful scenes; that death and corruption are represented as in all the works of this composer by
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shortly after its initial run at La Fenice, the opera soon entered the repertory of Italian theatres. By 1852, it had premiered in all the major cities of Italy, although sometimes under different titles due to the vagaries of censorship (e.g. as
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A room in the ducal palace. There are doors on both sides as well as a larger one at the far end by the sides of which hang full length portraits of the Duke and his wife. There is one high-backed chair at a table covered with velvet and other
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instruments, the thunderclaps and the sinister sighs of the chorus, which express as well an external process that is internal: death arrives with thunderclaps. The music always passes in this scene from jerky recitatives to fluid arias...
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From the beginning, both composer and librettist knew this step would not be easy. As Verdi wrote in a letter to Piave: "Use four legs, run through the town and find me an influential person who can obtain the permission for making
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in the quartet allowed the emotions of the four different characters to be heard together and yet distinguished clearly from each other at the same time and wished that he could achieve such an effect in a spoken drama.
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family. (The House of Gonzaga had long been extinct by the mid-19th century, and the Dukedom of Mantua no longer existed.) The scene in which he retired to Gilda's bedroom would be deleted, and his visit to the
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With falling darkness, a thunderstorm approaches and the Duke decides to spend the rest of the night in the house. Sparafucile directs him to the upstairs sleeping quarters, resolving to kill him in his sleep.
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opens on to the said terrace, which can also be reached by a staircase in front. To the right of the street is the very high wall of the garden and a side of the Ceprano palace. It is night.
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The work, Verdi's sixteenth in the genre, is widely considered to be the first of the operatic masterpieces of Verdi's middle-to-late career. Its tragic story revolves around the licentious
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A portion of Sparafucile's house is seen, with two rooms open to the view of the audience. Rigoletto and Gilda arrive outside. The Duke's voice can be heard from inside, singing "
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wrote "I say that in the aria 'La donna è mobile', for example, which the elite thinks only brilliant and superficial, there is more substance and feeling than in the whole of
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of Venice commissioned Verdi in 1850 to compose a new opera. He was prominent enough by this time to enjoy some freedom in choosing texts to set to music. He initially asked
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Some scores, such as the Schirmer piano-vocal score, present the opera in four acts, with the two scenes which normally constitute act 1 appearing as separate acts.
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At a ball in his palace, the Duke sings of a life of pleasure with as many women as possible, and mentions that he particularly enjoys cuckolding his courtiers: "
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in Florence. It initially had a run of 13 performances and was revived in Venice the following year, and again in 1854. Despite a rather disastrous production in
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deplored the fact that in his opinion the libretto was inspired by "the Satanic school" and Verdi and Piave had sought beauty from the "deformed and repulsive".
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in a 1983 recording for EMI. In the 21st century there have been several live performances released on DVD including a 2001 performance from London's
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and tells her that he plans to follow later. After she leaves, he completes his bargain with the assassin, who is ready to murder his guest for 20
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1469:, who has recorded the arias for several recital discs, also sings the role of the Duke on three complete studio recordings of the opera:
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in music is finished. Verdi will continue to draw on certain of its forms for the next few operas, but in a totally new spirit.
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as Rigoletto. Some film versions are based on the opera's plot, but do not use Verdi's music. Curtiss Clayton's 2003 film
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was a great box-office success for La Fenice and Verdi's first major Italian triumph since the 1847 premiere of
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conclusion. At curtain rise, great contrast is immediately felt as jolly dance music is played by an offstage
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322:(inn) would no longer be intentional, but the result of a trick. The hunchbacked jester (originally called
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The section following the quartet, marked "Scena e Terzetto Tempesta" (scene and storm trio) is also, as
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338:(Rigoletti, or The last of the fools) of 1835. By 14 January, the opera's definitive title had become
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Budden's conclusions about this opera and its place in Verdi's output are summed up by noting that:
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with Eva Leoni and Company. One of the most famous films based on the opera is the 1987 film by
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has written,"without any antecedent". Very different from the storm music that can be heard in
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premiered on 11 March 1851 in a sold-out La Fenice as the first part of a double bill with
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Just after 1850 at the age of 38 Verdi closed the door on a period of Italian opera with
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staged the opera set in the party-going world of disgraced former Italian prime minister
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Several modern productions have radically changed the original setting. These include
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as Rigoletto. In the US, the opera was first seen on 19 February 1855 at New York's
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Typical of critical reaction in Britain, Austria and Germany was the review in the
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Piave set to work revising the libretto, eventually pulling from it another opera,
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filmed the opera on location in Mantua with the court scenes taking place in the
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This article is about the opera. For the film based on the original opera, see
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almost without arias, without finales but only an unending string of duets."
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conducted, and the sets were designed and executed by Giuseppe Bertoja and
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completely original effect. Composer and professor of experimental music
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Rigoletto orders Gilda to put on a man's clothes to prepare to leave for
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as The Duke (ArtHaus Musik). The Duke of Mantua's arias, particularly "
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In the second half of the twentieth century and into the twenty-first,
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Act 1, scene 2 stage set by Giuseppe Bertoja for the world premiere of
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Rigoletto, and Rigoletto's daughter Gilda. The opera's original title,
4074:
473:
in 1855. The UK premiere took place on 14 May 1853 at what is now the
3479:
3429:
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2706:(1982), New York: Knopf, 1962, Chicago: University of Chicago Press.
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966:
810:
470:
310:
211:
179:
1115:
in E♭, D, C, A♭, G, and F, 2 trumpets in C, D, and E♭, 3 trombones,
1594:
of "Bella figlia dell'amore" (the famous quartet from act 3) and a
1413:
in the title role. The opera has also been recorded in German with
2376:"The Peter Jonas touch: A home for 'interpretive' opera in Munich"
1361:
1304:
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1080:
885:
847:
829:
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1377:. The earliest ones include the 1912 performance in French with
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421:
3157:
3030:
2850:
2294:
The Lure of Music: Depicting the Human Side of Great Composers
2186:
on operadis-opera-discography.org.uk. Retrieved 20 April 2012.
1931:"Verdi's Rigoletto plays right into the hands of a Silvio fox"
541:. Different characters portray different archetypes from the
1251:
Julian Budden regards the opera as "revolutionary", just as
975:
896:
2557:
The Story of Giuseppe Verdi: Oberto to Un Ballo in Maschera
416:. The opening night was a complete triumph, especially the
1445:
as the Duke (BBC/Opus Arte) and a 2006 performance at the
2680:
Nineteenth-Century Italian Opera: From Rossini to Puccini
2045:
Giuseppe Verdi, Rigoletto: Texte, Materialien, Kommentare
1787:
1785:
1401:(also the first opera recording on LP) was released by
577:
Costumes for the Duke of Mantua and Gilda published by
1501:
presented 18 short films in his sound-on-film process
4063:
2592:. Chicago & London: University of Chicago Press.
1262:
1852 in which the composer states that "I conceived
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3584:
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3200:
3132:
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2573:, Chicago and London: University of Chicago Press.
1373:There have been dozens of commercial recordings of
112:
95:
87:
77:
45:
2811:in the original Italian and in English translation
2665:, Oxford & New York: Oxford University Press.
2530:. London & New York: Oxford University Press.
1527:, set in modern-day New York, has a plot based on
1103:The orchestra calls for 2 flutes (Flute 2 doubles
2559:. Cambridge, et al.: Cambridge University Press.
2336:. Cambridge: Cambridge University Press Archive.
2815:San Diego OperaTalk! with Nick Reveles: Verdi's
1493:has been a popular subject for movies since the
2500:The New Grove Dictionary of Music and Musicians
2588:De Van, Gilles (trans. Gilda Roberts) (1998),
2010:
2008:
2006:
2004:
890:Set design for Rigoletto act 1, scene 2 (1903)
358:as Gilda (although Verdi would have preferred
326:) was renamed Rigoletto (from the French word
3169:
3042:
2862:
2590:Verdi's Theater: Creating Drama Through Music
1878:
1752:
1740:
1728:
1716:
1692:
1676:
826:Duke and Borsa enter from a door in the back.
8:
3800:Orchestra Sinfonica di Milano Giuseppe Verdi
2407:. Rochester: University of Rochester Press.
1914:
796:Male Chorus: the Duke's courtiers and guests
2663:The New Grove Guide to Verdi and His Operas
2615:Divas and Scholar: Performing Italian Opera
1606:which was published in Paris in the 1860s.
1429:conducting the orchestra and chorus of the
1417:conducting the orchestra and chorus of the
1381:conducting the orchestra and chorus of the
3176:
3162:
3154:
3049:
3035:
3027:
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2724:. New York: Oxford University Press: 1992
2404:Verdi in America: Oberto Through Rigoletto
2038:
2036:
1687:
1685:
62:
42:
2788:International Music Score Library Project
1802:
1800:
1636:"Rigolo" is a French word meaning "funny"
1580:Adaptations of the opera's music include
1195:scene is unprecedented in Italian opera.
2617:, Chicago: University of Chicago Press.
1992:
1990:
1988:
1986:
1984:
1791:
584:
4070:
2333:Verdi in the Age of Italian Romanticism
1866:
1854:
1669:
1620:
1157:Onstage: Violins I and II, violas, and
549:-type character and Rigoletto becoming
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1996:
1975:
1949:
1902:
1890:
1806:
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1547:in 2004, it subsequently received two
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934:
2179:
2177:
1007:singing "La donna è mobile" (C. 1906)
7:
4131:Operas based on works by Victor Hugo
2842:(1923 DeForest version) at SilentEra
1704:
537:, which is set in a casino in 1960s
298:'s poster for the world premiere of
2682:, Portland, Oregon: Amadeus Press.
2571:Verdi's Middle Period, 1849 to 1859
2297:. New York: Harper & Brothers.
2279:. L'Almanacco di Gherardo Casaglia
1957:Operapaedia – Rigoletto (Cast)
1505:, including an excerpt of act 2 of
1318:and experimental composers such as
1314:has received high praise even from
557:, artistic director of Australia's
525:, where the Court of Mantua became
4121:Opera world premieres at La Fenice
2697:Giuseppe Verdi: His Life and Works
1691:Verdi to Piave, 28 April 1850, in
1577:", with which the film concludes.
1567:as The Duke. The plot of the film
1072:" ("Beautiful daughter of love").
1055:Problems playing these files? See
491:Max Maretzek Italian Opera Company
209:(with whom he had already created
25:
4141:Libretti by Francesco Maria Piave
2551:Baldini, Gabriele (1970) (trans.
2462:Ozorio, Anne (8 September 2010).
2117:Verdi to Piave, October 1854, in
1978:with updated English for clarity.
587:Roles, voice types, premiere cast
336:Rigoletti, ou Le dernier des fous
274:controlled much of Northern Italy
4073:
4049:
4048:
3999:Giuseppe Verdi's Rigoletto Story
3727:
2945:Giuseppe Verdi's Rigoletto Story
2769:Verdi: "The story" and "History"
2629:Verdi: His Music, Life and Times
2160:(in German). Ditzingen: Reclam.
1974:The synopsis is based partly on
1551:nominations. In September 2010,
1239:(1930–2018) wrote of this scene
1018:
991:
935:Problems playing this file? See
912:
908:"Cortigiani, vil razza dannata""
33:Giuseppe Verdi's Rigoletto Story
2764:Libretto in Italian and English
2425:The Opera Goer's Complete Guide
2401:Martin, George Whitney (2011).
2374:Loomis, George (29 June 2005).
581:shortly after the 1851 premiere
477:, Covent Garden in London with
330:) from a parody of a comedy by
254:'s controversial five-act play
3240:I Lombardi alla prima crociata
3210:Oberto, Conte di San Bonifacio
2744:Verdi: The Man and His Letters
2722:The Oxford Dictionary of Opera
2631:(1983), New York: Dodd, Mead.
1111:), 2 clarinets, 2 bassoons, 4
834:Act 1, scene 1: Victor Hugo's
545:era, with the Duke becoming a
332:Jules-Édouard Alboize de Pujol
1:
2569:Chusid, Martin (ed.) (1997),
1573:revolves around the quartet "
1293:Gazzetta ufficiale di Venezia
145:is an opera in three acts by
4019:Casa di Riposo per Musicisti
3764:Theatres named after Verdi (
2804:Online Opera Scores Database
2381:International Herald Tribune
2359:. New York: Penguin Putnam.
2015:Brandenburg, Daniel (2012).
1477:; Decca (1989) conducted by
1083:. Rigoletto then withdraws.
965:The right bank of the river
601:Premiere cast, 11 March 1851
171:in Venice on 11 March 1851.
3758:Memorials to Giuseppe Verdi
2648:, New York: Da Capo Press,
2646:The Complete Opera of Verdi
2357:The New Penguin Opera Guide
1948:List of singers taken from
1645:The opera was performed as
1397:). The first LP edition of
1107:), 2 oboes (Oboe 2 doubles
815:Time: the sixteenth century
533:'s 2013 production for the
521:'s 2005 production for the
509:, which is set amongst the
505:'s 1982 production for the
4157:
3868:Portrait of Giuseppe Verdi
2746:, New York, Vienna House.
2271:Casaglia, Gherardo (2005).
1352:
1349:Recordings and adaptations
481:as the Duke of Mantua and
38:Rigoletto (disambiguation)
29:
4136:Operas adapted into films
4045:
3888:Verdi, the King of Melody
3716:String Quartet in E minor
3191:
2953:Rigoletto... in Bluegrass
2438:"Jonathan Miller's Mafia
1755:, pp. 278, 281, 283.
1014:"Bella figlia dell'amore"
794:
600:
595:
592:
250:That came in the form of
178:, his hunch-backed court
61:
50:
4111:Operas by Giuseppe Verdi
3556:Libiamo ne' lieti calici
2972:Caro nome che il mio cor
2524:Phillips-Matz, Mary Jane
2503:(2nd ed.). London:
2489:(2001). "Rigoletto". In
2043:Csampai, Attila (1982).
1952:, p. 476. See also
1543:. First screened at the
1421:in a 1953 recording for
872:Caro nome che il mio cor
489:in a performance by the
393:19th-century productions
350:as Rigoletto, the tenor
4101:Italian-language operas
3793:Giuseppe Verdi Monument
3520:Bella figlia dell'amore
3340:La battaglia di Legnano
2979:Bella figlia dell'amore
2428:. New York: Dodd, Mead.
2351:Kimbell, David (2001).
2330:Kimbell, David (1985).
2156:Engler, Günter (2000).
1939:(London), 19 March 2014
1649:in Bologna and as both
1575:Bella figlia dell'amore
1563:in the title role, and
1497:era. On 15 April 1923,
1369:in the role of the Duke
1300:Frankfurter Nachrichten
1230:, that of the storm in
1221:Il barbiere di Siviglia
1070:Bella figlia dell'amore
497:20th century and beyond
420:and the Duke's cynical
157:based on the 1832 play
117:11 March 1851
27:Opera by Giuseppe Verdi
3400:Les vêpres siciliennes
1431:English National Opera
1370:
1283:
1246:
1174:
980:
901:
891:
856:
838:
768:Francesco De Kunnerth
582:
527:The Planet of the Apes
507:English National Opera
389:
378:
302:
239:) to examine the play
199:
36:. For other uses, see
4126:Operas based on plays
3565:Un dì, felice, eterea
2325:. New York: Carleton.
2323:Charles Edwin Wilbour
2184:Rigoletto Discography
1405:in 1950 conducted by
1365:
1271:
1241:
1177:The short orchestral
1172:
979:
900:
889:
851:
833:
790:Annetta Modes Lovati
576:
479:Giovanni Matteo Mario
384:
377:, the first Rigoletto
373:
360:Teresa De Giuli Borsi
294:
207:Francesco Maria Piave
197:
155:Francesco Maria Piave
82:Francesco Maria Piave
4027:Verdi Transcriptions
3677:Un ballo in maschera
3623:La forza del destino
3450:La forza del destino
3440:Un ballo in maschera
3194:List of compositions
2505:Macmillan Publishers
2436:(23 February 1989).
2422:Melitz, Leo (1913).
2248:. Vol. 1: From
1879:Phillips-Matz (1993)
1753:Phillips-Matz (1993)
1741:Phillips-Matz (1993)
1729:Phillips-Matz (1993)
1717:Phillips-Matz (1993)
1693:Phillips-Matz (1993)
1677:Phillips-Matz (1993)
1610:Notes and references
1587:Rigoletto Paraphrase
1511:Jean-Pierre Ponnelle
1485:(1993) conducted by
1473:(1971) conducted by
1425:and in English with
1307:and party favours."
874:" ("Dearest name").
523:Bavarian State Opera
4116:Operas set in Italy
3859:Cultural depictions
3738:Quattro pezzi sacri
3586:Opera discographies
3079:Francis I of France
2778:on giuseppeverdi.it
2256:. London: Cassell.
2246:The Operas of Verdi
2130:Verdi to Borsi, in
1833:The Daily Telegraph
1824:"The opera novice:
1707:, pp. 163–164.
1592:piano transcription
1483:Deutsche Grammophon
987:"La donna è mobile"
664:a murderer for hire
589:
513:in New York City's
366:Performance history
262:Francis I of France
190:Composition history
3786:Milan Conservatory
3707:Inno delle nazioni
3688:Other compositions
3410:I vespri siciliani
3220:Un giorno di regno
2840:Rigoletto, Act Two
2823:2008-12-22 at the
2800:Indiana University
2774:2013-12-22 at the
2528:Verdi: A Biography
2447:The New York Times
2108:, pp. 483–487
1962:2011-06-04 at the
1828:by Giuseppe Verdi"
1604:Sigismond Thalberg
1419:Berlin State Opera
1371:
1320:Luigi Dallapiccola
1286:Critical reception
1175:
981:
902:
892:
857:
839:
723:Countess Ceprano,
585:
583:
535:Metropolitan Opera
517:during the 1950s;
390:
379:
313:and belong to the
307:Il Duca di Vendome
303:
200:
4061:
4060:
3901:(1982 miniseries)
3898:The Life of Verdi
3835:Verdi, California
3547:La donna è mobile
3151:
3150:
3122:The King's Jester
3024:
3023:
2986:La donna è mobile
2796:piano vocal score
2699:, New York: Knopf
2671:978-0-19-531314-7
2514:978-1-56159-239-5
2468:live from Mantua"
2414:978-1-58046-388-1
2167:978-3-15-018090-7
2054:978-3-499-17487-2
2026:978-3-7618-2225-8
1541:Vivienne Westwood
1539:with costumes by
1515:Luciano Pavarotti
1467:Luciano Pavarotti
1459:La donna è mobile
1453:as Rigoletto and
1441:as Rigoletto and
1435:Royal Opera House
1415:Wilhelm Schüchter
1379:François Ruhlmann
1066:La donna è mobile
1023:
999:
919:
801:
800:
689:Annetta Casaloni
613:the Duke's jester
563:Silvio Berlusconi
553:. In March 2014,
475:Royal Opera House
465:in 1854 and both
426:La donna è mobile
414:Francesco Bagnara
388:, the first Gilda
354:as the Duke, and
198:Verdi around 1850
138:
137:
70:Philippe Chaperon
18:Rigoletto (opera)
16:(Redirected from
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2848:
2786:: Scores at the
2720:and West, Ewan,
2676:Pistone, Danièle
2642:Osborne, Charles
2627:Martin, George,
2541:
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1565:Vittorio Grigolo
1517:as The Duke and
1479:Riccardo Chailly
1447:Opernhaus Zürich
1395:Columbia Records
1277:. The so-called
1025:
1024:
1001:
1000:
978:
921:
920:
899:
751:Count Monterone
732:Luigia Morselli
641:Teresa Brambilla
590:
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559:Opera Queensland
487:Academy of Music
418:scena drammatica
386:Teresa Brambilla
356:Teresa Brambilla
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3697:Suona la tromba
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2825:Wayback Machine
2776:Wayback Machine
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2702:Walker, Frank,
2611:Gossett, Philip
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2546:Further reading
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2019:. Bärenreiter.
2017:Verdi:Rigoletto
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1964:Wayback Machine
1954:San Diego Opera
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1561:Plácido Domingo
1545:Venice Biennale
1537:Vittorio Sgarbi
1533:Rigoletto Story
1475:Richard Bonynge
1443:Marcelo Álvarez
1439:Paolo Gavanelli
1360:
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1332:Igor Stravinsky
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1237:Dieter Schnebel
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843:Questa o quella
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779:Giovanni Rizzi
757:Feliciano Ponz
746:Angelo Zuliani
656:Raffaele Mirate
647:Duke of Mantua
602:
586:
571:
503:Jonathan Miller
499:
483:Giorgio Ronconi
402:Giacomo Panizza
395:
368:
352:Raffaele Mirate
245:Alexandre Dumas
192:
153:was written by
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28:
23:
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15:
12:
11:
5:
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3893:
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3878:Giuseppe Verdi
3873:
3862:
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3856:
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3824:
3817:
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3807:Verdi (crater)
3803:
3796:
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3578:
3569:
3560:
3551:
3542:
3538:Di quella pira
3533:
3524:
3515:
3505:
3503:
3502:Opera excerpts
3499:
3498:
3496:
3495:
3485:
3475:
3465:
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3405:
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3255:
3245:
3235:
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3215:
3204:
3202:
3198:
3197:
3192:
3189:
3188:
3185:Giuseppe Verdi
3183:
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3173:
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3149:
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3136:
3134:
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3101:
3099:
3095:
3094:
3092:
3091:
3086:
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3075:
3073:
3069:
3068:
3059:Le roi s'amuse
3056:
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3053:
3046:
3039:
3031:
3022:
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3019:
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3013:
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2910:
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2907:
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2899:Le roi s'amuse
2894:
2892:
2888:
2887:
2878:Giuseppe Verdi
2876:
2874:
2873:
2866:
2859:
2851:
2845:
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2758:External links
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2491:Sadie, Stanley
2483:
2459:
2434:O'Connor, John
2430:
2419:
2413:
2398:
2371:
2365:
2353:Holden, Amanda
2348:
2342:
2327:
2309:
2304:978-1417928965
2303:
2285:
2268:
2262:
2242:Budden, Julian
2231:
2230:
2218:
2200:
2198:, p. 211.
2188:
2173:
2166:
2148:
2146:, p. 510.
2136:
2123:
2110:
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2074:Britannica.com
2060:
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2000:
1980:
1967:
1941:
1919:
1907:
1895:
1883:
1881:, p. 286.
1871:
1869:, p. 991.
1867:Kimbell (2001)
1859:
1857:, p. 279.
1855:Kimbell (1985)
1847:
1811:
1796:
1781:
1769:
1767:, p. 482.
1757:
1745:
1743:, p. 273.
1733:
1731:, p. 272.
1721:
1719:, p. 270.
1709:
1697:
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1668:
1660:
1659:
1655:Clara de Perth
1638:
1629:
1619:
1618:
1611:
1608:
1553:RAI Television
1411:Leonard Warren
1407:Renato Cellini
1353:Main article:
1350:
1347:
1287:
1284:
1227:La Cenerentola
1166:
1163:
1162:
1161:
1155:
1100:
1097:
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1045:Victor Records
1041:Antonio Scotti
1027:
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836:Le Roi s'amuse
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787:mezzo-soprano
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773:A Court Usher
770:
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748:
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744:
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737:Matteo Borsa,
734:
733:
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729:mezzo-soprano
727:
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717:Andrea Bellini
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710:Count Ceprano
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455:Clara de Perth
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282:Le Roi s'amuse
257:Le roi s'amuse
191:
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184:La maledizione
176:Duke of Mantua
160:Le roi s'amuse
149:. The Italian
147:Giuseppe Verdi
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101:Le roi s'amuse
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56:Giuseppe Verdi
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3918:Risorgimento!
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3849:Verdi, Nevada
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3842:Verdi, Kansas
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3260:I due Foscari
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3156:
3144:(Verdi opera)
3143:
3142:
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3137:
3135:
3131:
3124:
3123:
3119:
3116:
3115:
3111:
3108:
3107:
3103:
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3100:
3096:
3090:
3089:Clément Marot
3087:
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2757:
2753:
2752:0-8443-0088-8
2749:
2745:
2741:
2737:
2736:Werfel, Franz
2734:
2731:
2730:0-19-869164-5
2727:
2723:
2719:
2718:Warrack, John
2716:
2713:
2712:0-226-87132-0
2709:
2705:
2704:The Man Verdi
2701:
2698:
2694:
2693:Toye, Francis
2691:
2689:
2688:0-931340-82-9
2685:
2681:
2677:
2674:
2672:
2668:
2664:
2660:
2659:Parker, Roger
2657:
2655:
2654:0-306-80072-1
2651:
2647:
2643:
2640:
2638:
2637:0-396-08196-7
2634:
2630:
2626:
2624:
2623:0-226-30482-5
2620:
2616:
2612:
2609:
2607:
2606:0-226-14370-8
2603:
2599:
2598:0-226-14369-4
2595:
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2584:
2583:0-226-10659-4
2580:
2579:0-226-10658-6
2576:
2572:
2568:
2566:
2565:0-521-29712-5
2562:
2558:
2554:
2550:
2549:
2545:
2539:
2537:0-19-313204-4
2533:
2529:
2525:
2521:
2516:
2510:
2506:
2502:
2501:
2496:
2495:Tyrrell, John
2492:
2488:
2487:Parker, Roger
2484:
2473:
2469:
2467:
2460:
2449:
2448:
2443:
2441:
2435:
2431:
2427:
2426:
2420:
2416:
2410:
2406:
2405:
2399:
2388:on 2014-06-10
2387:
2383:
2382:
2377:
2372:
2368:
2366:0-14-029312-4
2362:
2358:
2354:
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2343:0-521-31678-2
2339:
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2263:0-304-31058-1
2259:
2255:
2251:
2247:
2243:
2239:
2238:
2237:
2236:
2227:
2226:Ozorio (2010)
2222:
2219:
2216:
2212:
2210:
2204:
2201:
2197:
2196:Martin (2011)
2192:
2189:
2185:
2180:
2178:
2174:
2169:
2163:
2159:
2152:
2149:
2145:
2144:Budden (1984)
2140:
2137:
2134:, p. 483
2133:
2132:Budden (1984)
2127:
2124:
2121:, p. 484
2120:
2119:Budden (1984)
2114:
2111:
2107:
2106:Budden (1984)
2102:
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2094:Budden (1984)
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2087:
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2056:
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2018:
2011:
2009:
2007:
2005:
2001:
1998:
1997:Parker (2001)
1993:
1991:
1989:
1987:
1985:
1981:
1977:
1976:Melitz (1913)
1971:
1968:
1965:
1961:
1958:
1955:
1951:
1950:Budden (1984)
1945:
1942:
1938:
1937:
1932:
1928:
1923:
1920:
1916:
1911:
1908:
1904:
1903:Loomis (2005)
1899:
1896:
1893:, p. 81.
1892:
1891:Martin (2011)
1887:
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1820:Rahim, Sameer
1815:
1812:
1808:
1807:Downes (1918)
1803:
1801:
1797:
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1788:
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1782:
1779:, p. 38.
1778:
1777:Downes (1918)
1773:
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1765:Budden (1984)
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1695:, p. 265
1694:
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1679:, p. 265
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1519:Ingvar Wixell
1516:
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1500:
1499:Lee de Forest
1496:
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1488:
1484:
1480:
1476:
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1468:
1464:
1463:Enrico Caruso
1460:
1456:
1455:Piotr Beczała
1452:
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1444:
1440:
1436:
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1428:
1424:
1420:
1416:
1412:
1409:and featured
1408:
1404:
1400:
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1392:
1388:
1384:
1383:Opéra Comique
1380:
1376:
1368:
1367:Enrico Caruso
1364:
1359:
1357:
1348:
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1325:
1324:Luciano Berio
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1212:Julian Budden
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1029:Enrico Caruso
1015:
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1005:Enrico Caruso
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702:
701:mezzo-soprano
699:
697:
696:Gilda's Nurse
693:
692:
688:
686:
683:
681:
677:
676:
673:Paolo Damini
672:
670:
667:
665:
662:Sparafucile,
661:
660:
657:
654:
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623:Felice Varesi
621:
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606:
605:Gaetano Mares
598:
591:
580:
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568:
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560:
556:
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548:
547:Frank Sinatra
544:
540:
536:
532:
531:Michael Mayer
528:
524:
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512:
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427:
423:
419:
415:
411:
410:Gaetano Mares
407:
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392:
387:
383:
376:
375:Felice Varesi
372:
365:
363:
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357:
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348:Felice Varesi
343:
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35:
34:
19:
4047:
4026:
3998:
3988:
3978:
3968:
3958:
3948:
3938:
3921:(2011 opera)
3916:
3906:
3896:
3886:
3876:
3866:
3750:Recognitions
3736:
3705:
3695:
3676:
3667:
3659:Il trovatore
3658:
3649:
3640:
3631:
3622:
3613:
3604:
3595:
3574:Va, pensiero
3529:Celeste Aida
3511:Anvil Chorus
3488:
3478:
3468:
3458:
3448:
3438:
3428:
3418:
3408:
3398:
3388:
3380:Il trovatore
3378:
3369:
3368:
3358:
3350:Luisa Miller
3348:
3338:
3328:
3318:
3310:I masnadieri
3308:
3298:
3288:
3278:
3268:
3258:
3248:
3238:
3228:
3218:
3208:
3140:
3139:
3120:
3112:
3104:
3057:
3003:
2951:
2943:
2936:
2927:
2919:
2897:
2882:
2881:
2839:
2831:
2816:
2793:
2782:
2743:
2740:Stefan, Paul
2721:
2703:
2696:
2679:
2662:
2645:
2628:
2614:
2600:(hardback),
2589:
2570:
2556:
2553:Roger Parker
2527:
2498:
2475:. Retrieved
2471:
2465:
2451:. Retrieved
2445:
2439:
2424:
2403:
2390:. Retrieved
2386:the original
2379:
2356:
2332:
2317:
2293:
2289:Downes, Olin
2281:(in Italian)
2274:
2253:
2249:
2245:
2234:
2233:
2221:
2208:
2203:
2191:
2157:
2151:
2139:
2126:
2113:
2101:
2089:
2079:12 September
2077:. Retrieved
2073:
2063:
2044:
2016:
1970:
1944:
1936:The Guardian
1934:
1922:
1910:
1898:
1886:
1874:
1862:
1850:
1838:. Retrieved
1831:
1825:
1814:
1772:
1760:
1748:
1736:
1724:
1712:
1700:
1672:
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1663:
1654:
1650:
1646:
1641:
1632:
1623:
1614:
1613:
1599:
1585:
1579:
1568:
1535:directed by
1532:
1528:
1522:
1506:
1490:
1487:James Levine
1398:
1374:
1372:
1355:
1340:
1328:Ernst Krenek
1311:
1309:
1299:
1297:
1292:
1289:
1278:
1274:
1272:
1268:
1263:
1256:
1249:Musicologist
1247:
1242:
1231:
1225:
1219:
1209:
1205:
1201:
1199:atmosphere.
1197:
1193:
1176:
1159:contrabasses
1109:English horn
1102:
1093:
1089:
1085:
1074:
1063:
1037:Louise Homer
1033:Bessie Abott
964:
963:
949:
946:furnishings.
944:
943:
876:
868:
864:
859:
858:
853:
842:
840:
835:
824:
823:
795:
738:
724:
705:Laura Saini
695:
679:
663:
631:his daughter
630:
612:
579:Casa Ricordi
519:Doris Dörrie
515:Little Italy
500:
454:
450:
446:
435:
431:
430:
417:
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397:
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344:
339:
335:
327:
319:
306:
304:
299:
281:
278:
270:at that time
268:(as Austria
255:
249:
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234:
228:
222:
216:
210:
201:
183:
173:
158:
141:
140:
139:
99:
32:
4096:1851 operas
4036:Villa Verdi
3959:La Traviata
3911:(1985 play)
3891:(1953 film)
3881:(1938 film)
3821:Verdi Range
3814:Verdi Inlet
3741:(1889–1897)
3668:La traviata
3403:(June 1855)
3390:La traviata
3064:Victor Hugo
3006:discography
2904:Victor Hugo
2472:Opera Today
2318:Victor Hugo
2313:Hugo, Adèle
2096:, p. .
2070:"Rigoletto"
2047:. Rowohlt.
1705:Hugo (1863)
1647:Viscardello
1602:(Op.82) by
1582:Franz Liszt
1495:silent film
1423:EMI Records
1358:discography
1316:avant-garde
926:Titta Ruffo
678:Maddalena,
611:Rigoletto,
603:Conductor:
551:Don Rickles
447:Viscardello
252:Victor Hugo
165:Victor Hugo
107:Victor Hugo
4090:Categories
4029:(Finnissy)
3908:After Aida
3828:3975 Verdi
3605:Don Carlos
3463:(1867/84)
3460:Don Carlos
3453:(1862/69)
3330:Il corsaro
3303:(1847/65)
3072:Characters
2158:Über Verdi
1927:Lindy Hume
1665:References
1657:in Naples.
1557:Palazzo Te
1427:Mark Elder
1403:RCA Victor
1139:Offstage:
1057:media help
937:media help
739:a courtier
694:Giovanna,
680:his sister
597:Voice type
555:Lindy Hume
467:Montevideo
459:Alexandria
404:'s ballet
230:Il corsaro
121:1851-03-11
78:Librettist
3650:Rigoletto
3423:(1857/81)
3370:Rigoletto
3360:Stiffelio
3320:Jérusalem
3141:Rigoletto
3114:Rigoletto
3084:Triboulet
3004:Rigoletto
2929:Rigoletto
2921:Rigoletto
2883:Rigoletto
2832:Rigoletto
2817:Rigoletto
2794:Rigoletto
2783:Rigoletto
2555:, 1980),
2466:Rigoletto
2440:Rigoletto
2275:Rigoletto
2254:Rigoletto
2209:Rigoletto
1826:Rigoletto
1600:Rigoletto
1529:Rigoletto
1513:starring
1507:Rigoletto
1503:Phonofilm
1491:Rigoletto
1451:Leo Nucci
1399:Rigoletto
1375:Rigoletto
1356:Rigoletto
1312:Rigoletto
1279:ottocento
1275:Rigoletto
1264:Rigoletto
1253:Beethoven
1232:Rigoletto
1145:bass drum
1125:bass drum
1047:recording
854:Rigoletto
765:baritone
754:baritone
685:contralto
539:Las Vegas
432:Rigoletto
398:Rigoletto
340:Rigoletto
324:Triboulet
300:Rigoletto
296:La Fenice
272:directly
236:Stiffelio
203:La Fenice
169:La Fenice
142:Rigoletto
129:La Fenice
46:Rigoletto
4054:Category
3774:Florence
3766:Brindisi
3614:Falstaff
3490:Falstaff
2821:Archived
2809:Libretto
2772:Archived
2742:(1973),
2695:(1931),
2678:(1995),
2661:(2007),
2644:(1969),
2613:(2006),
2526:(1993).
2497:(eds.).
2477:20 April
2464:"Unique
2453:20 April
2392:20 April
2315:(1863).
2291:(1918).
2244:(1984).
1960:Archived
1836:. London
1651:Lionello
1596:Fantasia
1391:La Scala
1179:preludio
1117:cimbasso
1043:'s 1907
924:Sung by
804:Synopsis
762:Marullo
725:his wife
618:baritone
543:Rat Pack
451:Lionello
151:libretto
131:, Venice
113:Premiere
96:Based on
88:Language
3979:Macbeth
3778:Trieste
3770:Busseto
3726:(1874)
3632:Macbeth
3483:(1887)
3473:(1871)
3443:(1859)
3393:(1853)
3383:(1853)
3373:(1851)
3300:Macbeth
3230:Nabucco
2996:Related
2834:at IMDb
2827:(video)
2355:(ed.).
2235:Sources
1840:9 March
1570:Quartet
1216:Rossini
1133:strings
1129:cymbals
1121:timpani
1105:piccolo
809:Place:
784:A Page
636:soprano
629:Gilda,
442:Bergamo
437:Macbeth
328:rigoler
320:Taverna
315:Gonzaga
286:Busseto
266:Censors
224:Macbeth
119: (
91:Italian
4106:Operas
4066:Portal
4002:(2005)
3992:(1987)
3982:(1987)
3972:(1986)
3969:Otello
3962:(1983)
3952:(1953)
3942:(1906)
3939:Otello
3871:(1886)
3718:(1873)
3710:(1862)
3700:(1848)
3641:Otello
3493:(1893)
3480:Otello
3433:(1857)
3430:Aroldo
3363:(1850)
3353:(1849)
3343:(1849)
3333:(1848)
3323:(1847)
3313:(1847)
3293:(1846)
3290:Attila
3283:(1845)
3280:Alzira
3273:(1845)
3263:(1844)
3253:(1844)
3250:Ernani
3243:(1843)
3233:(1842)
3223:(1840)
3213:(1839)
3201:Operas
3125:(1941)
3117:(1918)
3109:(1909)
3066:(1832)
3011:"Here"
2956:(2006)
2948:(2005)
2940:(2003)
2932:(1982)
2924:(1956)
2891:Source
2750:
2728:
2710:
2686:
2669:
2652:
2635:
2621:
2604:
2596:
2577:
2563:
2534:
2511:
2411:
2363:
2340:
2301:
2260:
2250:Oberto
2211:(1987)
2164:
2051:
2023:
1549:Grammy
1336:Wagner
1305:galops
1258:Eroica
1189:minuet
1077:Verona
967:Mincio
811:Mantua
743:tenor
471:Havana
453:, and
311:Mantua
212:Ernani
180:jester
4080:Opera
3133:Other
3098:Films
2964:Music
2913:Films
2798:from
1615:Notes
1471:Decca
1449:with
1437:with
1387:Pathé
1343:cycle
1165:Music
1149:bells
1141:Banda
1113:horns
1081:scudi
960:Act 3
882:Act 2
820:Act 1
776:bass
713:bass
651:tenor
593:Role
569:Roles
511:Mafia
406:Faust
52:Opera
3989:Aida
3949:Aida
3596:Aida
3470:Aida
2937:Rick
2748:ISBN
2738:and
2726:ISBN
2708:ISBN
2684:ISBN
2667:ISBN
2650:ISBN
2633:ISBN
2619:ISBN
2602:ISBN
2594:ISBN
2575:ISBN
2561:ISBN
2532:ISBN
2509:ISBN
2479:2012
2455:2012
2409:ISBN
2394:2012
2361:ISBN
2338:ISBN
2299:ISBN
2258:ISBN
2215:IMDb
2162:ISBN
2081:2018
2049:ISBN
2021:ISBN
1842:2013
1653:and
1590:, a
1524:Rick
1481:and
1341:Ring
1326:and
1184:band
1147:, 2
1127:and
1039:and
953:page
669:bass
469:and
461:and
422:aria
241:Kean
233:and
3062:by
2902:by
2880:'s
2802:'s
2252:to
2213:at
1598:on
1584:'s
1345:."
1338:'s
1224:or
1218:'s
424:, "
276:.)
243:by
163:by
105:by
54:by
4092::
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3772:-
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2581:,
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2493:;
2470:.
2444:.
2378:.
2176:^
2072:.
2035:^
2003:^
1983:^
1933:,
1929:,
1830:.
1799:^
1784:^
1684:^
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2307:.
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2083:.
2057:.
2029:.
1917:.
1905:.
1844:.
1794:.
1393:(
1385:(
1059:.
939:.
123:)
72:.
40:.
20:)
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