Dan Wallace Miller's production has the title character with a large scar on the right side of his face, rather than a spinal deformity, while the Duke has pox on his left arm from syphilis. There are also a lot of books, the opening scene has Gilda sitting in the middle of the stage reading, books litter the space of Rigoletto's home, and the chorus is pretty gross and lascivious with one of Gilda's books in Act II. All of this is coherent and fits the narrative.
Jorge Parodi presided over an enthusiastic orchestra that occasionally was out of tune (the beginning of "Caro nome" definitely had an issue) but pleasantly buoyant. There were also a few times when the orchestra got ahead of the singers, but mostly in Act I.
The cast is rather large, the chorus sounded cohesive, and there were notable contributions from bass-baritone Philip Skinner as Count Monterone and soprano Abigail Bush as Countess Ceprano. The former had a palpable pathos and the latter an imperious dignity. I also very much appreciated the siblings Sparafucile and Maddalena, bass-baritone Ashraf Sewailam and mezzo-soprano Melisa Bonetti Luna, both were very convincing and their low, textured tones were a good contrast to the principal singers with higher voices.
Tenor Edward Graves was a dashing Duke, his bright voice has a lovely lightness. He was a little quiet with the chorus and the orchestra in Act I, but his "È il sol dell'anima" in Act II and "La donna è mobile" in Act III were both strong and pretty. Soprano Melissa Sondhi was sweet as Gilda, her sound can be very pure, though some of her high notes do seem somewhat strained. Her Act II "Caro nome" was beautiful. Best of all was baritone Eugene Brancoveanu (pictured in Act I, photograph by David Allen) as Rigoletto. His warm, round voice is utterly sympathetic, even when he's being cruelly funny as in Act I or unreasonably bent on revenge in the last scene. I was in tears as he discovers his dying daughter, Sondhi does very well here as well, and Brancoveanu's poignancy is undeniable.
The couple in Row A Seats 2 and 4 did not like sitting next to the service dog with the people in Row A Seats 6 and 8, so they moved to Row B. They talked quite a bit at times, but I found was able to block them out by concentrating really hard on the music.
Worse though was the mobile phone that rang in the quiet part in the last scene right before Rigoletto sings Gilda's name.
I was sad to have to leave before the final ovation, but had to rush off right at 4:48pm right when the music ended, as my spouse needed to get to his own rehearsal by 6:30pm and our household only has one automobile.