The customary dark leather jacket that is a staple of the Sher operatic universe is here (its really something that the Duke of Mantua, Romeo, Count Almaviva, and Otello, all get to wear the same-looking coat at some point in their respective operas; perhaps theres some thematic connection there?) Rigoletto Levine; Eda-Pierre, Jones, Pavarotti, Quilico, Berberian Watch Now Standard Definition Video VerdiNov 7, 1977 Rigoletto Levine; Cotrubas, Jones, Domingo, MacNeil, Daz Watch Now Buy Tickets Rigolettois only available with a Met Opera on Demand subscription or rental. It provided a seamless transition into the Piangi, with Kelsey crescendoing from the C natural into the ensuing D flat. Verdi's Rigoletto. And in this case, there is nothing confusing about the Act three trio, which is as straightforward as Rigoletto gets both musically and dramatically (there is nothing subtle about a murder performed with a ghostly choral accompaniment and underscored by an orchestral thunderstorm). This product includes GeoLite2 data created by MaxMind, available from, Guilty pleasures: Yoncheva stars in a new, A fine showing for the 1884 Italian version of, To add a comment, please sign in or register. 2022 | 13:00 Rigoletto, Verdi, Baritone Quinn Kelsey and soprano Rosa Feola reprise rapturously acclaimed turns as the tragic jester Rigoletto and his headstrong daughter, Gilda, and two artists make noteworthy Met debuts: tenor Benjamin Bernheim as the promiscuous Duke of Mantua, and Maestro Speranza Scappucci on the podium. He has previously conducted at opera companies around the world, including the Bavarian State Opera, Paris Opera, Deutsche Oper Berlin, Vienna State Opera, Teatro Real in Madrid, and Gran Teatre del Liceu in Barcelona. The Royal Opera Season will open with a new production of Verdi's Rigoletto, directed by Oliver Mears, which will be his first production since becoming The Royal Opera's Director of Opera in 2017.The new production will receive its premiere in September 2021, with Music Director Antonio Pappano conducting. The Age - Thu, 31 Oct 2019 . In a recent interview with OperaWire, composer Lori Laitman noted that Verdis Rigoletto was among her favorite operas. The ensuing stanza was sung with a similar gentleness, but you could feel that she was taking a bit more time with it, thus amplifying the intensity so that the second climax to the high A, despite a similar dynamic phrasing, had a punchier, emotional impact and set up the increased agitation of what follows. In Act three, the tenor took things up a notch, delivering a spotless rendition of La Donna mobile, each note of the dotted rhythm clear and articulated with vibrant sound. The aforementioned Possente creates some major visual dissonance for the audience do we focus on the tenor singing the aria? 31 Dec 2021 - 11 Jun 2022. Italian bass Andrea Mastroni reprises his portrayal of Sparafucile, a role he has previously sung at the Met in 2017 and La Scala. When he does, out comes a richly human creature . It was the epitome of style over substance and after seeing it a few times, no singer however great could get me to subject myself to its charmlessness. His most-recent work on Broadway includes Tootsie, Kiss Me Kate, and My Fair Lady. But she eventually found her way back with the cadenza, and the arias coda where her elegant legato line returned us to the initial bliss. Compounding Bernheims performance during this scene was how much fun he seemed to be having, not only flirting with Akhmetshina, but even caressing a cross on the wall, a childish smile on his face. ****1 A fine showing for the 1884 Italian version of Don Carloat the Met Robert Levine, 9th November During Pari siamo, Kelsey revealed the wide-ranging gamut of colors at his disposal. And so we come to the end. Its an intimate passage and one of Verdis most radical (at the time). You can always feel tenors getting ready for this big moment and then when it comes, they drag it out, which unfortunately undercuts everything else that makes this aria so emblematic of the Dukes character. Also making her debut was the young mezzo Aigul Akhmetshina as Maddalena. This opera, like many of the composers greatest, moves. Continues through Jan. 29 with this cast and conductor at the Metropolitan Opera, Manhattan; metopera.org. The production starred baritone Quinn Kelsey in the titular role with Rosa Feola. Yet, somehow, Andante mosso agitato was decidedly faster than the Allegro Vivo. But hes here now and he was definitely worth the wait. Feola was in equally fine voice, her warm lyric soprano on the cusp on womanhood. PRODUCTION Bartlett Sher SET DESIGNER Michael Yeargan COSTUME DESIGNER Catherine Zuber LIGHTING DESIGNER Donald Holder Composer But when he realized the Duke was still alive, his body contorted, and his sound suddenly dimmed as he wondered what had happened. The restatement of the main melody was delivered with an even more intimate and sensual piano. This original and thrilling production is led by Metropolitan Opera conductor Gregory Buchalter and directed . While she got off to a promising start during that Preludio, the string tremolos surging forward toward the fortissimo orchestral explosions, things started to get a bit hairy once the singers took the stage. Performance History. Marullo, signore, tu chhai lalma gentil come il core retained some of the edge and accents, with the final ohime of the section sounding bitter, almost as if Rigoletto were disgusted at having to plead with these vil razza for help. The final duet was magnetic not only for Feolas interpretation but Kelseys pained pleas of Non morire, mio tesoro, pietade! Victorian Opera announces cast for The Who's Tommy. Taking in the work on Monday, Nov. 14, 2022 for the first time in years, her words resonated rather deeply with me. But her experience as an operatic conductor was in full evidence, shading the orchestra and stretching the tempo like a true master. : ','}}, Find The Metropolitan Opera on Facebook (opens new window), Find The Metropolitan Opera on Twitter (opens new window), Find The Metropolitan Opera on Instagram (opens new window). For the Met: Mia Bongiovanni is supervising producer and Louisa Briccetti and Victoria Warivonchik are producers. Whats left to say, but that vocally this was some of the finest casts that the Met has assembled for a production this season. Genre: Opera. Perhaps Feolas standout moment came in the ensuing act during Tutte le feste al tempio. The recitative that preceded the duet proper, Ciel! As he remarked on the Duke, his voice became pointed; one could feel the anger boiling over, his voice growing in strength over the tremolo strings. Find The Metropolitan Opera on Facebook (opens new window), Find The Metropolitan Opera on Twitter (opens new window), Find The Metropolitan Opera on Instagram (opens new window). The climactic final B natural, and the preceding run, were delivered with bravura, the high note reverberating throughout the cavernous Met. The character-driven chamber opera, a collaboration between acclaimed American composer Heggie and librettist Gene Scheer, based on a script by Terrence McNally, will be directed by Gary Briggle and presented at the Jungle Theater. He has conducted all of the major Italian symphony orchestras, as well as many throughout Europe, and has also led productions at La Scala, Staatsoper Berlin, Dutch National Opera, the Paris Opera, Pesaros Rossini Opera Festival, and in Aix-en-Provence, Valencia, Venice, Madrid, Stuttgart, Zurich, Tokyo, Rome, and Naples, among others. Soprano Tamara Wilson portrays the virtuous duchess Elsa, falsely . British costume designer Catherine Zuber has been designing for productions at the Met since her debut with Bartlett Shers staging of Il Barbiere di Siviglia in 2006. And instead of doing the predictable crescendo from Vieni, e senti to the high B flat on palpitar, Bernheim actually diminuendoed the phrases, luring us in, before springing the high note with an even more intense forte, emphasizing the Dukes manipulative game. Baritone Quinn Kelsey portrays the title role at the Met for the first time, starring alongside soprano Rosa Feola as Gilda and tenor Piotr Beczaa as the Duke of Mantua. Baritone Quinn Kelsey and soprano Rosa Feola reprise rapturously acclaimed turns as the tragic jester Rigoletto and his headstrong daughter, Gilda, and two artists make noteworthy Met debuts: tenor Benjamin Bernheim as the promiscuous Duke of Mantua, and Maestro Speranza Scappucci on the podium. solo per me linfamia; that passage is marked Pi mosso, following the Andantino from Gildas opening lines, but in this case, the tempo felt like it almost doubled the previous one in how quickly it accelerated. The Met: Live in HD is supported by Rolex. Revivals of operatic warhorses like Verdi's Rigoletto can be hit or miss at an opera house the size of the Metropolitan Opera. The December 31 performance, as well as the January 4, 19, 29, and June 8, 2022, performances of Rigoletto will be broadcast live on Met Opera Radio on Sirius XM Channel 355. Tony winner Ivo van Hove will also direct Mozart's Don Giovanni. He earned a Tony Award for directing South Pacific in 2008 and received Tony nominations for his Broadway productions of Golden Boy, Joe Turners Come and Gone, Awake and Sing!, and The Light in the Piazza. The HD broadcasts are supported by Toll Brothers, America's luxury home builder. Arizona Opera officially announced its 2023/24 Season, featuring four opera productions including a World Premiere in Phoenix and Tucson, as well as the companys inauguralNew Works Festivalin Phoenix, and a new series of community concerts in Tucson. While the soprano was at her best during the delicate opening lines of the piece, her piano singing almost parlato in its effect and generating a powerful intimacy between audience and performer. SAS Performing Arts Concert Opera presents the only New York City performance of the Puccini work Il Trittico. And considering that this is an opera that has been done time and again, it was refreshing to hear her test the limits of what this music could do. Beyond the costumes, it's hard to see what Sher has actually done with the purported Weimar inspiration he captures neither the hedonism nor the sense of imminent downfall of the period but it's an attractive, efficient production that will surely be revived for years to come. 17 des. From there his voice grew even more tender, each ensuing phrase a caress as he reached out toward his hurting daughter. She has also sung Gilda at the Bavarian State Opera, Lyric Opera of Chicago, Ravenna Festival, and in Rome, Zurich, Turin, and Savona. SAS Performing Arts Concert Opera Presents Puccini's IL TRITTICO, Arizona Opera Announces Its 2023/24 Season Line-up, THE ARTWORK OF THE FUTURE World Premiere Opera To Run At Fresh Squeezed Opera, May 13-19. Croatian bass Ante Jerkunica makes his Met debut as Sparafucile this season. Polish tenor Piotr Beczaa reprises his portrayal of the Duke of Mantua, the role of his Met debut in 2006. Please check if you entered the email address correctly. There was an aggressive nature to his opening scene, almost as if his Rigoletto were always on the defensive in this predatory world. Armenian mezzo-soprano Varduhi Abrahamyan makes her Met debut as Maddalena. She brought a seemingly endless supply of energy to the evening, with swift tempi and impressively monolithic brass. But the finest singing of the evening came from Benjamin Bernheim, making his long-overdue Met debut. Other notable roles include Ramfis in Aida in Verona and Zurich, Giorgio Germont in La Traviata at La Scala, Colline in La Bohme in Venice, and Sarastro in Die Zauberflte at the Hamburg State Opera. We are doing maintenance on the website until approximately 1 am ET Friday, February 10. During the quartet, Bella figlia dellamore, Bernheim delivered another display of glorious legato singing. The baritone Quinn . Rigoletto Ken Howard / Met Opera For the first time since the mid-1970s the Metropolitan Opera is performing into June after recently establishing an annual month-long hiatus during the. Baritone Quinn Kelsey and soprano Rosa Feola reprise rapturously acclaimed turns as the tragic jester Rigoletto and his headstrong daughter, Gilda, and two artists make noteworthy Met debuts: tenor Benjamin Bernheim as the promiscuous Duke of Mantua, and Maestro Speranza Scappucci on the podium. Rigoletto opens on November 10, with Rosa Feola and Lisette Oropesa sharing the role of Gilda, Aigul Akhmetshina as Maddalena, Benjamin Bernheim and Stephen Costello as the Duke of Mantua, and Quinn Kelsey, Michael Chioldi, and Luca Salsi as Rigoletto. Pretty but Pointless. Later in that same aria, the Cor anglais, which plays in duet with the baritone, sounded off during the entrance to Miei signori, perdono. She also came in so strongly on Io vo mia figlia that Kelseys mia figlia, the key to that parola scenica was inaudible. New York, NY (December 23, 2021)The Metropolitan Opera rings in the new year with a new production of Verdis Rigoletto on December 31, with an additional eight performances January 4January 29, 2022. For further details on Rigoletto, including casting by date, please click here. Verdi: Rigoletto: Directed by Gary Halvorson. Even if the Duke is a thankless role dramatically, it's the perfect showcase for his elegant tenor. The answer was in this very guttural sound. Returning from the premiere cast were Quinn Kelsey and Rosa Feola as Rigoletto and Gilda. Bartlett Sher's Weimar-inspired production premiered less than a year ago, and is eminently revivable. Visit Website. Review: Amid Omicron, the Met Opera Opens a Weimar 'Rigoletto'. Our privacy policy was last updated on Friday 31 January 2020, Benjamin Bernheim (Duke), Quinn Kelsey (Rigoletto) and chorus, Benjamin Bernheim (Duke of Mantua) and Rosa Feola (Gilda), John Relyea (Sparafucile), Benjamin Bernheim (Duke of Mantua) and Aigul Akhmetshina (Maddalena), I've never heard a Gilda so convincingly sound like she is at death's door, Reviewed at Lincoln Center: Metropolitan Opera House, New York City on 10 November 2022. Wagner's soaring masterpiece makes its triumphant return to the Met stage after 17 years. She is currently a studio artist at Moscows Bolshoi Theatre, which she joined after singing at the Galina Vishnevskaya Theatre Studio. As the scene progressed, you could sense him losing hope, his sound diminuendoing. 133 subscribers The 2022 Metropolitan Opera production of Giuseppi Verdi's Rigoletto was incredible to watch. His 2014 interview with opera star Kristine Opolais was cited in a New York Times Review. Skylark Opera Theatre returns to stage this Spring with the regional premiere of Jake Heggie's Three Decembers. The La r, la r, la r started off aggressive, the baritone placing forceful accents throughout. There was a gentle quality to Ah, veglia, o donna, questo fiore, but his scrambling about the place expressed his fear and worry, which was slowly assuaged by Feolas loving presence. Rigoletto Worldwide Broadcasts in Cinema, Radio, and Online. This video really should have had a fourth example, though. One might argue that we live in a moment of multi-tasking and that this should be a no-brainer, but breaking the spell of a performer like Quinn Kelsey in the middle of a character-defining scene is unfortunate, if not disrespectful. It took but a moment before she was rushing away down the stairs. She displayed an elegant legato line in her Quanto affetto, her voice crescendoing as the line rose to first a G natural and then a high B flat a few bars later. Even in the lower reaches of this section, his voice retained that gentility, always soft and warm. Digital support of The Met: Live in HD is provided by Bloomberg Philanthropies. She made her debut at the Salzburg Festival in 2019, where she sang the role of Federica in a concert performance ofLuisa Miller. He also holds a dual bachelors from Hofstra University in Film Production and Journalism. Russian soprano Kristina Mkhitaryan makes her Met role debut as Gilda. As the passage drew to its conclusion, he thundered on the final Ah no, follia, the voice vibrant and powerful on the high E. More remarkable still was how contained Kelsey was on stage, and yet his body language expressed every one of these emotions. Akhmetshina, but even caressing a cross on the wall, a childish smile on his face. Kevin Puts'. On Dec. 31, the Metropolitan Opera opened a new production of "Rigoletto." It was the first time since 2013 that the company was showcasing a new staging of Verdi's masterpiece and it was a departure from the Las Vegas set. American baritone Quinn Kelsey returns to the Met this season, making his company role debut in the title role of Rigoletto. She performs regularly at the Moscow Easter Festival, St. Petersburgs Stars of the White Nights Festival, and has also appeared at the Edinburgh and Verbier Festivals. Accents throughout opening scene, almost as if his Rigoletto were always the. 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