The Tyrol, 1815. Young Marie was raised as a foundling by a French regiment and now travels with them as a sutler. She loves Tonio, a Tyrolean lad, who, however, is not an acceptable match according to the regiment as a supposed spy. When the local Marquise von Berkenfield accidentally learns from the regimental commander Sulpice that Marie is her niece who was thought to be lost, she immediately takes Marie under her wing to ensure that she is married in a decent manner. But even a year later, Marie still prefers to sing regimental songs and loves Tonio. In the meantime, Tonio has risen to the rank of a handsome officer and still wants Marie: Marie. His audition with the Marquise, however, is in vain.When Tonio learns that Marie cannot be the Marquise’s niece, he confronts her. The Marquise must admit to Sulpice that Marie is her illegitimate daughter. The regiment prevents a wedding befitting her rank, Marie’s past is revealed, and with the Marquise’s consent, Marie is allowed to marry her beloved Tonio.Gaetano Donizetti’s (1797-1848) Opéra Comique from 1840 is folksy, romantic, dance-like and melodic. The subject of the honest peasant or soldier versus the morally degenerate aristocracy, which was quite simple but widespread in the first half of the 19th century, brought great success to the work premiered in Paris and belonged to the standard repertoire for a long time.With Tonio’s aria "Ah! mes amis, quel jour de fête!" with no less than nine challenging high cs, every tenor climbs the Mount Everest of his subject, so to speak.

As already in his Luisa Miller, Verdi’s eponymous figure Rigoletto is not a man of rank, but a representative of the people, in this case a malformed court jester. The composer devoted himself with the greatest care to the psychological shaping of his hero. This may have been due to the fact that the Venetian censorship had initially banned the opera for insulting majesty, and that it could only be performed on stage after numerous changes. Since the libretto was changed several times and the scenic structure was also shaken, the unity of the play had to be preserved and restored in other ways. Thus Giuseppe Verdi (1813-1901) transposed it into the personal, tragic conflict of the Rigoletto, which is decisive for the plot and the connection between the characters. The composer succeeded excellently in combining recitatives, arias and duets into a higher musical unity and in dissolving the old structure of the number opera. He himself even regarded his work as revolutionary.After the music had been criticized as too shallow and superficial by contemporaries, especially by followers of Richard Wagner, only Igor Stravinsky was able to overturn this verdict: He praised the ingenuity of the opera. Today, "Rigoletto" is part of the standard repertoire of every opera house, and the popular arias "La donna è mobile" or "Caro nome", which are extremely demanding to sing, are often performed in song recitals in isolation.