The following is part of an article written by Julius Eichbaum, and taken from Scenaria magazine (June 1996)
HANS VAN HEERDEN AS RIGOLETTO: NEARLY 100 – AND NOT OUT!
PACOFS’ [Performing Arts Council of the Orange Free State] Production Of Rigoletto
Verdi’s Rigoletto remains one of the Italian master’s finest dramatic stage achievements, but in order for any production of this opera to fully succeed, certain ingredients are mandatory. The first of these, not unnaturally, is the more than usual care required when casting the title role which calls for a singer who can not only manage the notes as written, but who also had the ability to impart the required dramatic inflection to their delivery. In addition, the role also demands a singer of considerable dramatic quality with an acting ability that conveys the many faceted sides of Verdi’s tragic character.
In this respect, the PACOFS production, which opened at the Sand du Plessis Theatre, Bloemfontein, on 17 May [1996] for a season of seven performances, was more than adequate – it was (at this level, at least) a resounding success.
The opening performance marked Hans van Heerden’s 93rd performance on the professional stage of the role of Rigoletto – a role that he has sung with distinction throughout Europe with major international singers. Sadly, the final Bloemfontein performance on 29 May marked his 99th performance, thereby causing him to miss the coveted century by only one performance.
As with so many other roles with which Van Heerden has become identified, such as Scarpia and Nabucco, the role of Rigoletto finds in him and outstanding interpreter and a singer who, with the benefit of years of study and experience, has indeed found all the facets of the character. His portrayal of Rigoletto uncovers the many seemingly contradictory character traits – the loving father as opposed to the underlying nastiness and insecurity of the man, one whose tenderness and obvious love towards his daughter sharply contrasts with the vengefulness and spite that sets the entire drama in motion. This is, by no means, a role one can play within a single dimension and Van Heerden is masterful in peeling back layer upon layer of revealing traits, both positive and negative, which make up one of Verdi’s most fascinating stage characters.
This was a performance filled with touching warmth, humour, and love juxtaposed against evil, fear, weakness, and vengefulness. In many ways it was a tour-de-force – one that made one sit up and take notice and one that brought the entire production to life.
[The rest of the article is omitted, as it mainly describes the performance qualities of the other lead singers of the production, and not relevant to Hans van Heerden.]
