and purity of tone. 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. The Met rings in the new year with the gala premiere of a bold new take on Verdi's timeless tragedy from Bartlett Sher. Quinn Kelsey, Benjamin Bernheim, Rosa Feola Shine Amidst Musical Chaos. Desperation took over with the subsequent phrases aggressive, accented, and frantic. His singing had rawness and pointedness, particularly as he poked fun at Ceprano and Monterone. Kevin Puts'. 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. 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. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, the Neubauer Family Foundation. Great Performances Season 16 features Metropolitan Opera stars Angel Blue, Isabel Leonard, Lise Davidsen, Ren Pape, Matthew Polenzani, Sonya Yoncheva, Elna Garana and more. The collection of #PBSForTheArts programs is available at pbs.org/arts and the PBS Video app. Is it possible to have a minor success on every level? Italian bass Andrea Mastroni reprises his portrayal of Sparafucile, a role he has previously sung at the Met in 2017 and La Scala. Home Performances Rigoletto. 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. The Met: Live in HD - Rigoletto 2022 2,164 views Jan 14, 2022 16 Dislike Share Save Trafalgar Releasing 12.8K subscribers Tony Award-winning director Bartlett Shercreates a bold new take on. Taking on that task in this production was Speranza Scappucci, making her Metropolitan Opera debut. Production a gift of C. Graham Berwind, III Director, Spring Point Partners, LLC; Gramma Fisher Foundation, Marshalltown, Iowa; and Mr. and Mrs. Paul Montrone. 2022 Metropolitan Opera Wiener Staatsoper; 2021 Royal . Verdi: Rigoletto (2022) Full Cast & Crew See agents for this cast & crew on IMDbPro Directed by Gary Halvorson Writing Credits (in alphabetical order) Cast Camera and Electrical Department Kevin Murphy . A new opera by composer Eric Moe and librettist Rob Handel, The Artwork of the Future, will have its world premiere in a production by Fresh Squeezed Opera in five performances at HERE Performing Arts Center in SoHo on May 13, 14, 16, 18, and 19, 2023. 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. 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. Sunday, March 18th, 1pm. Review: Amid Omicron, the Met Opera Opens a Weimar 'Rigoletto'. If you are using Internet Explorer or other browsers you may encounter problems with certain sections of our website. 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. Even when she rejected him, he continued searching for her, his repetition of the piangi melody even more lush than before. Italian conductor Daniele Rustioni returns to the Met after previously conducting Aida in 2017. Join the DSO Women's History Month Celebration: Join the launch of the DSO's virtual Women in Classical Music in Conversation series on Wednesday, March 1, at 12:00 pm, which will provide a community forum and build upon the relationships formed at the symposium. 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. GREAT PERFORMANCES AT THE MET "Rigoletto", UC San Diego Health steps in to help El Centro hospital stay afloat, Current rainy season could be a drought buster, forecaster says, Settlement reached in Tijuana sewage lawsuit, Brittney Griner urges the return of U.S. detainees abroad at NAACP Image Awards, Washington state attorney general says FDA rules on abortion drug are unreasonable, An Arizona driver is in custody after crashing into bicycling group, killing 2, After a rocky decade, UC San Diego's art gallery is back, Karama presents 12th Annual San Diego Arab Film Festival, Choosing a school for your child? 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. Mia colomba, lasciarmi non dei!These were sung with the softest piano singing that Kelsey managed the entire evening, his voice but a weeping thread of sound, each time growing softer and more heart-breaking, especially as he held her in his arms. Kevin is a violinist and violist, and regularly performs as a soloist, chamber musician, and as an orchestral player. 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. All performances to. Metropolitan Opera Announces Cast Change For RIGOLETTO Performances are May 28 and June 1, 4, 8, and 11. by Stephi Wild May. Luiz Gazzola Opera Lively. In their Met debuts, Yulia Matochkina sings Maddalena, and Ante Jerkunica sings Sparafucile. NYT Critic's Pick. 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). 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. 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. 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. Have lunch with the cast of Rigoletto and hear excerpts from Verdi's masterpiece along with . Opera is thriving. Instead, Feolas has greater weight and heft, especially in the middle range where she has brightness but also potency that cuts through. : ','}}, 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). But as the aria transitioned away from anger toward pleading, his voice correspondingly softened. Once a seeming fixture with the company throughout the early 2000s, he stopped appearing after the 2016 season. Often times, she was very flexible and allowed the lines to bend and flow organically, but more often than not, those moments would be followed by shockingly fast tempi that threatened to derail the entire enterprise. But he's at his best in his scenes at home with Gilda, with a burnished legato and seemingly endless breath. Though her voice is not especially large it carries nicely, especially her plummy chest voice. 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. The Act three trio was a mess of sounds without any real grounding and during the final duet, Lass in ciel, the violin syncopations were so accented as to sound plodding and heavy that they didnt fit into the general soundscape of the moment, even disrupting it. Elsewhere this season, he sings Sarastro at the Vienna State Opera. The Metropolitan Opera. 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. Rigoletto (Verdi) The Abduction from the Seraglio (Mozart) The Merry Wives of Windsor (Nicolai) La bohme (Puccini) 1993-1994 Season. Rigoletto Worldwide Broadcasts in Cinema, Radio, and Online. mia Gilda was spoken, the effect expressing how empty Rigoletto feels in this moment. in the middle of his career. GREAT PERFORMANCES AT THE MET is produced by the Metropolitan Opera in association with PBS and The WNET Group, bringing the best of the Metropolitan Opera into the homes of opera fans across the country. English conductor Karel Mark Chichon made his Met debut in 2016 conducting Madama Butterfly, returning in 2020 for performances of La Traviata. This season, he begins his tenure as the principal guest conductor at the Bavarian State Opera. 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. Two artists make notable Met debuts: the tenor Benjamin Bernheim as the Duke of Mantua and the conductor Speranza Scappucci in the pit. You could feel the fear, the shame, the pain, and in one brief moment, the anger of what had happened to her. Mezzo-soprano Isabel Leonard hosts. After the passion of that top note, the tenor pulled back to his most gentle piano of the passage before crescendoing once more into a final impassioned forte on the final G flat. In the Mets production, the action unfolds in Weimar Germany in the 1920s, a time and place with surprising parallels to the decadentand dangerousworld of the original setting. stage director See also Other aspects work better, including the dark alley scene between Rigoletto and Sparafucile, which also makes an argument for the less is more principle. 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. That said, this is a step up from the Las Vegas episode. SAS Performing Arts Concert Opera presents the only New York City performance of the Puccini work Il Trittico. In the context of the opera, the merely lovely music becomes inspired drama. The Tony Award-winning director resets the opera's action in 1920s Europe . Yet, somehow, Andante mosso agitato was decidedly faster than the Allegro Vivo. Too often, these are underrehearsed affairs, with unimaginative casting and uninspired direction. Artists. Giuseppe Verdi's Rigoletto December 31, 2021 January 4, 7, 11, 15e, 19, 22e, 25, & 29m, 2022 May 28e, 2022 June 1, 4e, 8, & 11e, 2022 Creative Team Production: Bartlett Sher Scenic Designer: Michael Yeargan Costume Designer: Catherine Zuber Lighting Designer: Donald Holder Cast Conductor: Daniele Rustioni / Karen Kamensek Samson et Dalila (Saint-Sans) Tosca (Puccini) The Elixir of Love (Donizetti) 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. New York, NY (February 23, 2022)The Metropolitan Opera today announced its 2022-23 season, which features seven new productions, the most in ten seasons.Opening Night is September 27 with the company premiere of Cherubini's Medea, starring soprano Sondra Radvanovsky in the title role alongside tenor Matthew Polenzani in David McVicar's new staging, conducted by Carlo Rizzi. Met Opera: Rigoletto review [November 2022] Proving that money and insight do not necessarily mix, this first revival season of Met Opera's new Rigoletto looks suitably grand, and sounds wonderful, but generally leaves the audience cold. {{::date | momentFormat:'D'}}{{$last ? '' Benjamin Bernheim filled the auditorium with a sound that was powerful, beautiful and intelligent. For more than 50 years, PBS has been the media destination for the arts, presenting dance, theater, opera, visual arts and concerts to Americans in every corner of the country. But these emphatic tempi shifts stood out as unrefined for a number of reasons. Genre: Opera. April 5, 2022 at 11 a.m. Winter Park Library and Events Center 1052 W Morse Boulevard | Winter Park, FL 32789 . His Met repertory has also included Rodolfo in Luisa Miller and La Bohme, Vaudmont in the company premiere of Iolanta, Lenski in Eugene Onegin, the title role of Faust, Edgardo in Lucia di Lammermoor, the Chevalier des Grieux in Manon, Gustavo in Un Ballo in Maschera, and Maurizio in Adriana Lecouvreur. And suddenly our attention shifts away from Rigolettos truly private and essential CHARACTER moment, to something else. Even if the Duke is a thankless role dramatically, it's the perfect showcase for his elegant tenor. Rigoletto, a cursed court jester of the lustful Duke of Mantua, obsessively protects his daughter, Gilda. Note for note, moment for moment, this without any doubt in my mind is the most compelling Rigoletto that Ive heard at the Met in a decade. Performances are May 28 and June 1, 4, 8, and 11. Speranza Scappucci conducts Bartlett Sher's production. 2022 | 13:00 Rigoletto, Verdi, He captures the insouciant elegance of the opening scene, with neatly executed turns in Questa o quella, as well as he does the bravado swagger of the final act. 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. The opening lines of the duet were sung with utmost delicacy, the soprano slowly building up to the high A on daglocchi il cor, the high note suddenly full of rage and anger, before the line diminuendoed to a tearful resolution. 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. His Cortigiani is utterly overwhelming, the emotional anchor of the entire work. She served as music director and chief conductor of Staatsoper Hannover between 2011 and 2016, and music director of Theater Freiburg between 2003 and 2006. Canadian bass-baritone John Relyea, who just ended a highly . For the Met: Mia Bongiovanni is supervising producer and Louisa Briccetti and Victoria Warivonchik are producers. 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. Metropolitan Opera Review - Rigoletto: Oropesa, Grigolo, Gagnidze Give Winning Performances In Vegas April 14, 2013 . 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. His other recent performances include Cavaradossi in Tosca at the Vienna State Opera, des Grieux in Manon in Zurich, and Rodolfo in Luisa Miller at Gran Teatre del Liceu in Barcelona. 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. A second run of performances in the spring features baritone Ludovic Tezier, soprano Kristina Mkhitaryan, and tenor Stephen Costello, conducted by Karel Mark Chichon. 17 des. 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. Met Opera | December 17, 2022. And when she exited the Dukes room, she moved about the space slowly, her eyes downcast, searching for a place to be alone. This was present at the Allegro vivo following Rigolettos Ah no: folia at the end of Pari siamo and then at the start of Addio speranza ed anima. It was present in the middle of Act two Gilda-Rigoletto duet Tutte le feste al tempio with Rigolettos entrance Ah! Rigoletto contains a wealth of melody, including one that is among the worlds most famous: La donna mobile. All the operas solos are rich with character insight and dramatic development. And, because of how extreme these tempi were, a lot of the rich orchestral details felt underplayed or ignored. This first came into prominence during the operas big concertato moment, Ah, siempre tu spingi lo scherzo allestremo where the tempo ramped up to chaotic effect for the singers; it took them a few bars to find themselves back in synch with the conductor. 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. Our website has been optimized for viewing in the latest versions of Chrome, Firefox, and Safari. Its handsome sets and costumes drew an appreciative gasp from the audience, and the revolving set kept the action moving smoothly. However, things started getting a bit off during the dolce sixth leaps on a te and the ensuing sixteenth note runs; the soprano sounded stretched and there was even a moment where she went a bit flat in the runs. Karel Mark Chichon conducts. GREAT PERFORMANCES is on Facebook+ follow @GPerfPBS on Twitter. His role in Italys cultural and political development has made him an icon in his native country. Opera Met Opera's 2022-2023 Season Includes Rene Fleming and Kelli O'Hara in The Hours, Terence Blanchard's Champion, More. Quinn Kelsey (Rigoletto), Rosa Feola as Gilda), Ensemble Andrea Mastroni (Sparafucile), Varduhi Abrahamyan (Maddalena) Andrea Mastroni (Sparafucile), Varduhi Abrahamyan (Maddalena), Piotr Beczaa (Duke of Mantua), Rosa Feola (Gilda), Quinn Kelsey (Rigoletto) Quinn Kelsey (Rigoletto), Rosa Feola (Gilda) Performance reviews Rigoletto 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. 29 des. 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. They offer both strong bones and flexibility . Despite her frumpy costume, she's ideal for the role, clearly having the time of her life vamping around the stage. and the castwhich includes eljko Lui, Diana Damrau, Piotr Beczala . 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. Rigoletto is in three acts to an Italian libretto by Francesco Maria Piave based on the 1832 play Le roi s'amuse by Victor Hugo. Rigoletto returns in the spring for five performances May 28-June 11, 2022. Directed for the screen by Gary Halvorson. (Who struck you? When he re-entered the quartet, Bernheim gradually crescendoed toward the explosion of high notes that literally stops everyone else, allowing his voice to ring and further stamping his dramatic and musical authority on the scene. Companies. 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. Anna Yuryevna Netrebko (Russian: ; born 18 September 1971) is a Russian and Austrian operatic soprano with an active international career and performed prominently at the Salzburg Festival, Metropolitan Opera, Vienna State Opera, and The Royal Opera.. 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. At the climactic La Maledizione he interpolated a high G flat and A flat, both delivered ferociously to end the night. 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