disguises his
daughter in male attire in order that she may escape to Verona; but
before she sets out he takes her to the vicinity of Sparafucile's
house, that she may witness the perfidy of the Duke. While outside,
she overhears the quarrel between Sparafucile and Magdalena, and
learns his intention to murder the Duke, who is even then sleeping in
the house. With a woman's devotion she springs forward to save the
Duke's life, knocks at the door, and demands admittance. Sparafucile
opens it, and as she enters stabs her. He then thrusts her body into a
sack, and delivers it to her father as the body of the man whom he had
agreed to slay. Rigoletto, gloating over his revenge, is about to
throw the sack into the river near by, when he suddenly hears the
voice of the Duke. He tears open the sack to see whose body it
contains, and by the glare of the lightning is horrified to find that
it is his own daughter, and realizes that the malediction of Monterone
has been accomplished. She expires in his arms, blessing her lover and
father, while he sinks to the ground overwhelmed with the fulfilment
of the terrible curse.

The first act opens in the ball-room of the ducal palace. After a
brief dialogue between the Duke and one of his courtiers, the former
vaunts his own fickleness in one of the most graceful and charming
arias in the whole opera ("Questa o quella"). Some spirited dramatic
scenes follow, which introduce the malediction of Monterone and the
compact between Rigoletto and Sparafucile, and lead up to a scena of
great power ("Io la lingua, egli ha il pugnali"), in which the buffoon
vents his furious rage against the courtiers. A tender duet between
Rigoletto and Gilda follows, and a second duet in the next scene
between Gilda and the Duke ("Addio, speranza ed anima"), which for
natural grace, passionate intensity, and fervid expression is one of
Verdi's finest numbers. As the Duke leaves, Gilda, following him with
her eyes, breaks out in the passionate love-song, "Caro nome," which
is not alone remarkable for its delicacy and richness of melody, but
also for the brilliancy of its bravura, calling for rare range and
flexibility of voice. The act closes with the abduction, and gives an
opportunity for a delightful male chorus ("Zitti, zitti") sung
pianissimo.

The second act also opens in the palace, with an aria by the Duke
("Parmi veder le lagrime"), in which he laments the loss of Gilda.
Another fine chorus ("Scorren