Taking in the work on Monday, Nov. 14, 2022 for the first time in years, her words resonated rather deeply with me. Despite some strange costuming, she did her utmost to provide intricate characterization and development. But the finest singing of the evening came from Benjamin Bernheim, making his long-overdue Met debut. Between 2014 and 2020, he was music director of the Orchestra della Toscana, where he is currently artistic director. The Age - Thu, 31 Oct 2019 . Rigoletto has remained a staple at the Met forever. She readily negotiates the coloratura of the first act, culminating in a delectable Caro nome, but it's in the latter acts that she truly shines. As he shouted out Addio from behind a closed door, Feolas Gilda shifted from tentative and nervous to sprightly and excited. His 2014 interview with opera star Kristine Opolais was cited in a New York Times Review. 20 des. For some, the movement allows for a shifting of place and time throughout (like during the cabaletta Possente amor mi chiama where we see Gilda getting prepared for the Dukes arrival) and thus creates visual momentum and variety. Personally, the climax of his aria, an interpolated high B flat in the middle of an aria thats always on the move, is really hard to pull off smoothly. And like Laitman, it has always remained one of my favorites, exploring the damaging impact of a toxic patriarchal world where no man is without shame or blame (it was particularly striking this time around to realize that despite being a teenager, Gilda knows nothing of her familys past; her fathers attempt to lock his daughter away from the world seems to include keeping her own story and identity from her as well). stage director See also MEET THE STARS LUNCHEON. Quinn Kelsey and Rosa Feola as Gilda in a scene from Verdi's "Rigoletto." Premieres Friday, June 17, 2022 at 9 p.m. on KPBS 2 / On demand with PBS Video App Baritone Quinn Kelsey portrays the. His entire duet with Rigoletto in Act one was fascinating, the bass digging into his thick and earthy tone with each phrase. The rest of her range is solid and she navigates the registers fluidly, though there were moments where the shifts into the higher range were not quite as polished and she sounded a bit stretched. The baritone Quinn . The music says one thing, the stage says another. Victorian Opera announces cast for The Who's Tommy. 2022 | 13:00 Rigoletto, Verdi, But he's at his best in his scenes at home with Gilda, with a burnished legato and seemingly endless breath. He has been nominated for 13 Tony Awardswinning in 2008 for South Pacific and 1998 for The Lion Kingin a career featuring more than 50 productions on Broadway. That was quickly contrasted in the ensuing scene as he roamed about the streets, delivering a hushed and pained Quel vecchio maledivami! The defensiveness of the opening scene continued throughout the conversation with Sparafucile, Kelsey initially reserved but slowly opened up his sound as he inquired about Sparafuciles methods. 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. A second run of performances in the spring features baritone Ludovic Tezier, soprano Kristina Mkhitaryan, and tenor Stephen Costello, conducted by Karel Mark Chichon. Start Free 7-Day Trial Rent for $4.99 And while Feola also delivered well on the higher lines throughout the Vendetta duet, the quartet, and trio (a tough task for all three singers as mentioned), the final duet was another moment of sublime singing from the soprano.Lass in ciel was delivered with the utmost delicacy of sound, each note angelic in its purity. O gioia! You could feel the excitement of this crescendo, exploding with vibrant sound on O gioia and then once again a few bars later on Allonda!. Verdi's Rigoletto. A seven-time Tony Awardwinner, her work has been seen on Broadway in productions such as My Fair Lady, Oslo, The King and I, Golden Boy, How to Succeed in Business Without Really Trying, Born Yesterday, South Pacific, and The Light in the Piazza. When the Page arrives, he recovered his strength, his voice growing metallic and accented, almost speaking some of the notes. She has performed many roles with the Paris Opera, including Ottone in LIncoronazione di Poppea, Isabella in LItaliana in Algeri, Ulrica in Un Ballo in Maschera, and the title role of Carmen and Olga in Eugene Onegin. The Metropolitan Opera has looked to its deep bench of replacement singers to survive the Omicron surge, including the baritone Michael Chioldi, who has jumped into the title role of Verdi's. The broadcast is part of season 16 of GREAT PERFORMANCES AT THE MET includes 10 new operas. The ensuing cabaletta Possente amor mi chiama presented the tenor with an opportunity to expand on the brightness and lush sound of his opening Questa o quella, and he fully delivered on that, projecting powerfully into the auditorium. I've never heard a Gilda so convincingly sound like she is at death's door. Carlos lvarez performs in the title role, alongside Lisette Oropesa and Liparit . Speranza Scappucci conducts Bartlett Sher's production. Anthony Tommasini is the chief classical music critic. Soprano Nadine Sierra stars as the self-sacrificing courtesan Violettaone of opera's ultimate heroinesin Michael Mayer's vibrant production of Verdi's beloved tragedy. A two-time Tony Awardwinner, his designs for Seascape, The Light in the Piazza, South Pacific, Awake and Sing, and Ah, Wilderness have all been seen on Broadway. Caro nome was a bit of a mixed bag for Feola. Producer: Don Judd. Croatian bass Ante Jerkunica makes his Met debut as Sparafucile this season. The second run of Bartlett Sher's new production of Verdi's Rigoletto stars baritone Quinn Kelsey in the title role, soprano Erin Morley as Gilda, mezzo-soprano Yulia Matochkina as Maddalena, tenor Stephen Costello as the Duke of Mantua, and bass Ante Jerkunica as Sparafucile. As he crescendoed into Mora! you could feel the pain and anger wrapped into one. We appreciate your patience. Directed for the screen by Gary Halvorson. And then, with the arrival of the woodwinds, he returned with a tender piano line, almost whispering parlato, his repetition of Quel vecchio maledivami! his softest yet. Il Trittico is comprised of three one act operas; Il Tabarro (The Cloak), Suor Angelica (Sister Angelica), and Gianni Schicchi. And so we come to the end. Discovered and promoted by Valery Gergiev, she began her career at the Mariinsky Theatre, collaborating . 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. Last night's affair proved this entirely wrong no fewer than three Met debutants galvanized this performance into one of the best performances ofRigoletto I've heard in years. Perhaps Feolas standout moment came in the ensuing act during Tutte le feste al tempio. The recitative that preceded the duet proper, Ciel! But for all this chaos, it is worth noting that in moments where the singers sounded uncomfortable with her tempi, Scappucci was quick to adjust to them, allowing them to bring their best to the performance. Nicholas Carter makes his Met debut conducting a remarkable ensemble, which also features soprano Brenda Rae as Ophelia, mezzo-soprano Sarah Connolly as Gertrude, baritone Rod Gilfry as Claudius, and legendary bass John Tomlinson as the ghost of Hamlet's father. His initial recitativo was colored by bitterness with the ensuing smoothness of his legato on E dove ora sar quellangiol caro? transitioning into a warmer timbre that hinted at his longing for Gilda. The soloists were as good as you could hope for with this opera. Even if the Duke is a thankless role dramatically, it's the perfect showcase for his elegant tenor. 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. He is a resident director of Lincoln Center Theater, where his productions have included My Fair Lady, Oslo, The King and I, and Women on the Verge of a Nervous Breakdown. Karel Mark Chichon conducts. Audience. In Act three, he retained this prickly vocal character, his low notes throughout the quartet dark and grainy, emphasizing Rigolettos resentment. GREAT PERFORMANCES AT THE MET: Rigoletto Preview, "Cortigiani, vil razza dannata" from "Rigoletto", Piotr Beczaa Performs "La donna mobile". His recent Verdi roles elsewhere include Miller in Luisa Miller at Lyric Opera of Chicago, Ford in Falstaff at the Dallas Opera, and Rigoletto in Zurich. GREAT PERFORMANCES is on Facebook+ follow @GPerfPBS on Twitter. As with il sol dellanima, the arched phrases of Bell figlia were elegantly shaped, the crescendoes subtle but present before melting into diminuendoes on the falling notes. Bernheim managed to elegantly pull off the high note without killing the momentum of the piece (high notes throughout the night were always secure with clean cutoffs). Cortigiani starts off with just strings, the violins playing triplet sixteenths, the violas and celli answering with their own intermittent triplet sixteenths, and the bass providing a repeated eighth pedal that lends weight and grounding to the scurrying violins. Later this season, he sings Lenski in Eugene Onegin at the Met. When you have a tenor like this cast had, the choice is made that much more difficult. 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. Premieres Friday, June 17, 2022 at 9 p.m. on KPBS 2 / On demand with PBS Video App. Whats left to say, but that vocally this was some of the finest casts that the Met has assembled for a production this season. It was one of the finest pieces of staging throughout the night and Feolas commitment was what truly made it work. Rigoletto | Opera | Performances, schedule and tickets | The Metropolitan Opera | View more information on Operabase . Its virtually been in and out of the stage throughout the years, but I stopped attending it over the past few years (I hadnt seen the opera at the Met since before the launch of OperaWire in late 2016). Cast: Quinn Kelsey - Rigoletto Rosa Feola - Gilda Piotr Beczala - Duke of Mantua Craig Colclough - Monterone Varduhi Abrahamyan - Maddalena Andrea Mastroni - Sparafucile Scott Sully - Borsa. These PDFs do not include cast changes that occurred after the program went to print. esser difforme, esser buffone, the voice shifting from grainy to soft and delicate as he sang Il retaggio dogni uom m tolto, il pianto.. 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), Toll BrothersMetropolitan Opera International Radio Network. For up-to-date casting go back to the previous page. The best in live events, streams, reviews and articles recommended by our editors, delivered to your inbox weekly. 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. He remarks how both men are similarly toxic, a comparison that the opera continually draws between all the male characters as the story develops. Despite her frumpy costume, she's ideal for the role, clearly having the time of her life vamping around the stage. She made her debut at the Salzburg Festival in 2019, where she sang the role of Federica in a concert performance ofLuisa Miller. Runtime: 210 min. Kevin Puts'. From his opening Questa o quella, he exuded vocal confidence, every note coming through crystal clear, every phrase elegantly thrown off, emphasizing the carefree nature of the Duke. 2021-2022 Season. Our website has been optimized for viewing in the latest versions of Chrome, Firefox, and Safari. The most egregious circumstance however was a more subtle one. 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. In adapting it, Verdi and Piave fought with the Italian censors and eventually settled on moving the story to the non-royal Renaissance court of Mantua, while holding firm on the core issues of the drama. The aforementioned Possente creates some major visual dissonance for the audience do we focus on the tenor singing the aria? Conductor Daniele Rustioni takes the podium to lead a cast starring Quinn Kelsey in his Met role debut as Rigoletto, Rosa Feola as Gilda, and Piotr Beczaa as the Duke of Mantua. In the context of the opera, the merely lovely music becomes inspired drama. Verdi: Rigoletto: Directed by Gary Halvorson. Desperation took over with the subsequent phrases aggressive, accented, and frantic. She recently made her debut at Covent Garden as Micala in Carmen. During the quartet, Bella figlia dellamore, Bernheim delivered another display of glorious legato singing. She has also held tenures as deputy music director of Staatsoper Hamburg, interim chief conductor at the Maribor Slovene National Theatre, and first kapellmeister at the Vienna Volksoper. ****1 A fine showing for the 1884 Italian version of Don Carloat the Met Robert Levine, 9th November 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. 2022-12-22 ANNOUNCEMENT Ekaterina Sannikova signs with TACT for General Management PRODUCTION Bartlett Sher SET DESIGNER Michael Yeargan COSTUME DESIGNER Catherine Zuber LIGHTING DESIGNER Donald Holder Composer Then theres some bizarre choices like the sudden abstraction during the Act three trio where the lights go red inside the inn and Gilda has a seeming out of body experience? With his big shoulders, big jaw, and his great, shiny Half Dome of a head, Kelsey gives Rigoletto immense presence even before he opens his mouth. At the climactic La Maledizione he interpolated a high G flat and A flat, both delivered ferociously to end the night. Let's hope that this marks the first of many Met visits for her, Bernheim, and Akhmetshina. He made his Met debut in 2007 as Arturo in Lucia di Lammermoor, with other roles for the company including Camille de Rosillon in The Merry Widow, Lord Percy in Anna Bolena, Romo in Romo et Juliette, and Alfredo Germont in La Traviata. The climactic final B natural, and the preceding run, were delivered with bravura, the high note reverberating throughout the cavernous Met. adesso non ridete? was heavily accented, allowing Kelsey to really express Rigolettos fury. David Frost is music producer and Peter Gelb is executive producer. Moreover, he started closing in on the other men around him, almost as if ready to strike them. 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. In their Met debuts, Yulia Matochkina sings Maddalena, and Ante Jerkunica sings Sparafucile. But when he commenced Deh, non parlare al misero, his voice took on a honeyed hue full of yearning. The opera will mark Morley's return to the Met following her . 133 subscribers The 2022 Metropolitan Opera production of Giuseppi Verdi's Rigoletto was incredible to watch. The La r, la r, la r started off aggressive, the baritone placing forceful accents throughout. Bartlett Sher's Weimar-inspired production premiered less than a year ago, and is eminently revivable. Rigoletto (Verdi) The Abduction from the Seraglio (Mozart) The Merry Wives of Windsor (Nicolai) La bohme (Puccini) 1993-1994 Season. 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