This article analyzes Giuseppe Verdi's 1851 opera Rigoletto, from the perspective of JB Thompson's model of media analysis; focusing on two particular scenes, as seen in the 1977 production directed by Kirk Browning. The two scenes chosen are Povero Rigoletto, from act 2 and Bella Figlia dell'Amore, from act 3. First, each scene will be described contextually, followed by a structural analysis which will attempt to determine the intention of the artist. Act 2, scene 2, the Duke of Mantua's courtiers kidnap Rigoletto's daughter, under the pretext that she is Rigoletto's partner. They then imprison her in the palace, where the duke is said to have raped her. This fact is never clearly stated in the opera, however, the Duke makes it clear from the beginning that he intends to bring her together in his sexual conquest. Verdi, taking the story of Le roi s'amuse from Victor Hugo, already knew of the difficulties Hugo faced due to strict censorship laws in Europe, but he chose to risk accusations of treason by writing Rigoletto. “Symbolic forms are always anchored in specific socio-historical contexts and processes within and by means of which they are produced, transmitted and received. » (Thompson 1990, p. 145) In this context, the negative representation of power was prohibited and censored, so it would seem that Verdi had a rebellious intention, or a certain feeling of injustice that he wished to express in his work. We know that Verdi experienced extreme grief following the loss of his son, daughter and wife. It is therefore very likely that he felt a strong connection with the story of Rigoletto, who was also powerless to defend the life and honor of his family. . Under the dictatorship of the monarchy and... middle of paper... it's not something. Although it is obvious that this is true by definition for any symbolic form, it is a statement that particularly complements this scene. It refers to a wide range of human emotions, while maintaining a cohesive bond between them, through carefully constructed harmony. In conclusion, he dissolves the core of human nature into the four characters on stage and combines them to depict the chaotic nature of emotion. The opera Rigoletto is an important cultural object, containing many symbolic forms in its physical production and in its use of musical conventions. to convey meaning. The story covers topics of broad ideologies that appeal to varied audiences, and in its time the opera defied popular belief. Today, he appears more as an icon of the tragic exploitation of the lower classes and the injustices that everyone must face..