And while that is true, the turntable also becomes a distraction here at some key dramatic moments. David Frost is music producer and Peter Gelb is executive producer. Bartlett Sher previously staged Rigoletto in Berlin in June 2019 and October 2019. It was hard to decipher what was going on and the fact that this kind of abstraction was never hinted at our set up anywhere else in the production (which was played as straight as possible) took you right out of the moment. Other aspects work better, including the dark alley scene between Rigoletto and Sparafucile, which also makes an argument for the less is more principle. Her vocal approach to the role was perfectly aligned to her characterization. This isnt all that dissimilar from the new Lucia di Lammermoor production that opened earlier this year; its more subtle, but the visual dissonance is very much the same. For up-to-date casting go back to the previous page. More information is available on the official website of the opera house. The Metropolitan Opera has announced a cast change for its spring run of "Rigoletto.". There was an aggressive nature to his opening scene, almost as if his Rigoletto were always on the defensive in this predatory world. 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. A new cast brings the Met's Rigolettoto life John Relyea (Sparafucile), Benjamin Bernheim (Duke of Mantua) and Aigul Akhmetshina (Maddalena) Curtis Brown | Met Opera Benjamin Bernheim (Duke of Mantua) and Rosa Feola (Gilda) Curtis Brown | Met Opera Quinn Kelsey (Rigoletto) Curtis Brown | Met Opera Mezzo-soprano Isabel Leonard hosts. The mezzo-soprano Aigul Akhmetshina is making her debut in the role of Maddalena. Carlos lvarez performs in the title role, alongside Lisette Oropesa and Liparit . His Cortigiani is utterly overwhelming, the emotional anchor of the entire work. Lisette has given 68 performances as Gilda. She is originally from Las Vegas and attended UNLV. In the context of the opera, the merely lovely music becomes inspired drama. Soprano Tamara Wilson portrays the virtuous duchess Elsa, falsely . The company noted that Erin Morley will sing the role of Gilda on May 28 through June 11 replacing the originally announced Kristina Mkhitaryan, who has withdrawn from the production. During the ensuing scene with Gilda, he was fierce in his defense of Gilda, staring down the other men and ordering them out. From there his voice grew even more tender, each ensuing phrase a caress as he reached out toward his hurting daughter. On the repeat of the melody, she spun a similarly delicate legato line, her high B flats fluid and sparkling. Written during the most fertile period of Verdis artistic life, the opera resonates with a universality that is frequently called Shakespearean. The explosion of sound on Tamo; ripetilo s caro accento built on Feolas previous crescendo on her own Tamo, ramping up the energy of the moment. 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. 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. Canadian bass-baritone John Relyea, who just ended a highly acclaimed run as Boris Ismailov in the Met's production of Shostakovich's Lady Macbeth of Mtsensk, will also be singing the role of the Grand Inquisitor in all of the Met's upcoming performances of Verdi's Don Carlo, which opens on November 3. 'Rigoletto' at The Met Opera Ken Howard While the highly anticipated revival of The Music Man idles awaiting the recovery from COVID of its stars Hugh Jackman and Sutton Foster and other. But hes here now and he was definitely worth the wait. Check out the latest photos and bios of the cast and filmmakers of The. He has served as principal conductor the Opra National de Lyon since 2017 and chief conductor of the Ulster Orchestra since 2019. SAS Performing Arts Concert Opera presents the only New York City performance of the Puccini work Il Trittico. Producer: Don Judd. Ah! She matched tenor Ben Bernheim line for line through il sol dellanima, delivering ethereal piano singing during her opening Ah, de miei vergini sogni son queste that was answered by an equally glorious piano line from him. Rigoletto (Verdi) The Abduction from the Seraglio (Mozart) The Merry Wives of Windsor (Nicolai) La bohme (Puccini) 1993-1994 Season. 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). In the ensuing scene with Feola, he refused to meet her gaze throughout, drawing her frustration, even becoming a bit harsh as she insisted on hearing her story. 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. by Stephi Wild Oct. 25, 2022. As her brother Sparafucile, John Relyea was appropriately menacing, sliding in and out of the shadows despite his massive frame. One of the things that is so incredible about Rigoletto within Verdis oeuvre is its pacing. Rigoletto returns in the spring for five performances May 28June 11, 2022. {{::date | momentFormat:'D'}}{{$last ? '' Review: Amid Omicron, the Met Opera Opens a Weimar 'Rigoletto'. The arias tempo marking is Andante mosso agitato while the preceding tempo indication is a faster one Allegro vivo. Whats left to say, but that vocally this was some of the finest casts that the Met has assembled for a production this season. Kelsey reprises the title role opposite Kristina Mkhitaryan as Gilda and Stephen Costello as the Duke of Mantua. 2022-23 Season 2023-24 Season In Cinemas At Home On Demand Radio Television Events Tickets 2023 ABT Tickets On Demand Visit Health and Safety Requirements Getting Here Daytime Access Accessibility Dining at the Met Tours What to Expect Exhibitions Discover Videos Podcasts Artists Articles The most egregious circumstance however was a more subtle one. 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. American set designer Michael Yeargan has designed more than a dozen productions for the Met, including the Gershwins Porgy and Bess, Romo et Juliette, LElisir dAmore, Les Contes dHoffmann, Le Comte Ory, and Il Barbiere di Siviglia. The Metropolitan Opera. Production title: Rigoletto - The Metropolitan Opera (2021-2022) Creation date: 02/06/2019 Work - Composer: Rigoletto - Giuseppe Verdi Opera house: The Metropolitan Opera. The La r, la r, la r started off aggressive, the baritone placing forceful accents throughout. John Dexter's production, now among the longest-serving in the company's repertory, remains a marvel of simple, effective storytelling. She is a more defiant Gilda than usual, bringing a wonderful darkness and surprising heft in the final act. During the quartet, Bella figlia dellamore, Bernheim delivered another display of glorious legato singing. All performances to. Even if the Duke is a thankless role dramatically, it's the perfect showcase for his elegant tenor. Rigoletto [rioltto] is an opera in three acts with music by Giuseppe Verdi and an Italian libretto by Francesco Maria Piave, based on the play The The King Has Fun, by Victor Hugo.Premiered on March 11, 1851 at the La Fenice theater in Venice, together with El troubadour and La traviata (both from 1853), it forms the popular trilogy that Verdi composed. Caro nome was a bit of a mixed bag for Feola. 2022 | 19:00 Rigoletto, Verdi, The Metropolitan Opera | New York City, United States l. Bartlett Shers new production, which opened on New Years Eve last year, isnt that much more revelatory in terms of presenting new ideas or adding newfound depth to the classic story. His entire duet with Rigoletto in Act one was fascinating, the bass digging into his thick and earthy tone with each phrase. After a lauded premiere on New Years Eve 2021, Bartlett Shers Art Decoinspired production of Verdis ever-popular masterpiece returns for its first revival. desso! There are plenty of vocal thrills in Sir David McVicar's new production of Giordano's revenge thriller at the Metropolitan Opera. It was also quite present during the S vendetta where the initial tempo surged forward so immediately that the actual stringendo written into the score near its climax sounded like a slowdown instead. Also making her debut was the young mezzo Aigul Akhmetshina as Maddalena. A second run of performances in the spring features baritone Ludovic Tezier, soprano Kristina Mkhitaryan, and tenor Stephen Costello, conducted by Karel Mark Chichon. Curated conversation and digital shorts are also available on PBS social media platforms using #PBSForTheArts. As he rejected her desires for more knowledge, she responded with frustrated arm gestures that delineated the youth and angst of the character. Audience. The Met Operas faithfulness to Michael Mayers increasingly unnerving, Taking on that task in this production was, In the role of Sparafucile, Relyea continued his revival with the company. ) right before the final duet was almost howled, its effect spine-chilling. This was most noticeable during her opening duet with the high B flat triplet sixteenth notes (non pi, vi calmate) and especially during the repeat of Ah, veglia, donna, queto fiore where her vocal line accompanies the baritone melody with leaps up and down the register; in this latter section, the ascents to the high Cs sounded timid and overly careful, lacking in clarity or brightness. Cortigiani had its tempo issues and they seemed to overwhelm early on, but he still managed to make the most of the situation, his voice powerful and present, emphasizing Rigolettos anger. The soloists were as good as you could hope for with this opera. Presiding over the evening was Speranza Scappucci, also making an overdue debut. 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. Solo per me linfamia, instead of bitter and reproachful, sounded sorrowful and hurt in its approach. Miei signori, perdono, pietate! featured some of the most captivating legato singing from the baritone on the evening, his voice practically weeping with every phrase, Rigolettos heart on his sleeve; the final Pietas during the cadenza, descending from the high F, were diminuendoed with such intensity so to depict heart-wrenching desperation and final one crescendoed and portamentoed into the high D flat with similar intensity. The aria proper was one expansive legato line that commenced with utmost softeness and tenderness, each successive peak and valley featuring fluid crescendoes and diminuendoes, each one ramping up the intensity toward the climactic high B flat near the end of the aria, where the tenor let loose with everything he had. Discovered and promoted by Valery Gergiev, she began her career at the Mariinsky Theatre, collaborating . The performance of Rigoletto on Saturday, January 29, 2022, will be transmitted live to cinemas around the globe as part of The Met: Live in HD series and broadcast over the Toll BrothersMetropolitan Opera International Radio Network. 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!. Let's hope that this marks the first of many Met visits for her, Bernheim, and Akhmetshina. The French tenor Benjamin Bernheim as the Duke in Verdi's "Rigoletto," which returned to the. ****1 A fine showing for the 1884 Italian version of Don Carloat the Met Robert Levine, 9th November Confusion, unless part of the thematic underpinning of the story, never makes for good storytelling. These PDFs do not include cast changes that occurred after the program went to print. The final duet was magnetic not only for Feolas interpretation but Kelseys pained pleas of Non morire, mio tesoro, pietade! The Age - Sat, 19 Feb 2022 . 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. Varduhi Abrahamyan plays Maddalena and Andrea Mastroni plays Sparafucile. Our website has been optimized for viewing in the latest versions of Chrome, Firefox, and Safari. She has also sung Gilda at the Bavarian State Opera, Lyric Opera of Chicago, Ravenna Festival, and in Rome, Zurich, Turin, and Savona. The music says one thing, the stage says another. 3 hr 10 minNR Jan 29, 2022 Opera Cast & Crew Piotr BeczalaActor Quinn KelseyActor Rosa FeolaActor Ludovic TezierActor Stephen CostelloActor Daniele RustioniActor We are doing maintenance on the website until approximately 1 am ET Friday, February 10. The baritone Quinn . As he shouted out Addio from behind a closed door, Feolas Gilda shifted from tentative and nervous to sprightly and excited. 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. But when Gilda falls in love with the man her father loathes, Rigoletto's thirst for vengeance and desperate attempt to stop fate bring about his own tragic . Mozart's Idomeneo. 31 Dec 2021 - 11 Jun 2022. Artists. Though her voice is not especially large it carries nicely, especially her plummy chest voice. Nov 17, 2022 Metropolitan Opera 2022-23 Review: Rigoletto Quinn Kelsey, Benjamin Bernheim, Rosa Feola Shine Amidst Musical Chaos By David Salazar (Credit: Curtis Brown) In a recent interview with OperaWire, composer Lori Laitman noted that Verdi's " Rigoletto " was among her favorite operas. 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. His role in Italys cultural and political development has made him an icon in his native country. Croatian bass Ante Jerkunica makes his Met debut as Sparafucile this season. John Relyea will make his Met role debut as Sparafucile in Verdi's Rigoletto, replacing Andrea Mastroni. Italian soprano Rosa Feola returns to the Met this season as Gilda, the role of her 2019 company debut. This next section, which also climaxes with a triplet sixteen run to a high A, was even more intense in its anguish, allowing her to end it on a aptly harsher vocalization for pi crudel. 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