A film-opera about the tragedy of the jester Rigoletto - a rare chance to see Verdi as grand cinema: luxurious palaces, coastal slums, and grim Renaissance feasts filmed in real historical settings. At the center is the brilliance of Luciano Pavarotti's voice. The screening will be in the original language with Russian subtitles and a discussion with the musicologist. Sometimes you want to not just listen to opera, but to view it - like a picturesque canvas where sound and gesture are equal. That evening on the screen is Jean-Pierre Ponnelle's film adaptation of the famous Verdi opera, shot as if the camera itself became part of the theater: it leads the viewer through the halls of decaying palaces, into cramped coastal quarters, and to feasts where the shine of gold coexists with dirt and cruelty. The opera's plot remains sharply poignant: the jester at the court of a debauched duke tries to protect his kidnapped daughter and sets off a chain of revenge that leads to catastrophe. Ponnelle reproduces the drama literally and boldly - with dwarfs in jester hats, courtly luxury, and small, almost mundane details of the era that evoke discomfort. The main intrigue for the music lover is the voices. Luciano Pavarotti sings the Duke of Mantua, and his part sounds like a shining facade behind which lies cold frivolity. The role of the jester is played by Ingvar Vixell - his intonations present us with a tough, sarcastic, always wary man whose love for his daughter is stronger than self-irony. Gilda, performed by Edita Gruberova, adds a fragility to the story, while the ominous Sparafucile, played by Ferruccio Furlanetto, reminds us: retribution is always near. The film was shot in historical locations - Teatro Farnese in Parma, Palazzo del Te in Mantua, Teatro Olimpico in Vicenza - so the Renaissance here feels not like a decoration, but like the air. Conductor Riccardo Chailly leads the orchestra of the Vienna State Opera energetically and precisely, maintaining tension until the finale. After the screening, musicologist Ekaterina Mukovozchik will help analyze how the language of cinema changes the perception of opera: what a close-up does to emotion, why costume and space become.