Carlos lvarez performs in the title role, alongside Lisette Oropesa and Liparit . 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. The Tony Award-winning director resets the opera's action in 1920s Europe . Digital support of The Met: Live in HD is provided by Bloomberg Philanthropies. This conversation features leaders of the Dallas Symphony, including Ross . 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. Kevin is a violinist and violist, and regularly performs as a soloist, chamber musician, and as an orchestral player. Rigoletto has remained a staple at the Met forever. Opera in the Park; Don Giovanni (Mozart) . 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. NYT Critic's Pick. Visit Website. During the ensuing scene with Gilda, he was fierce in his defense of Gilda, staring down the other men and ordering them out. Ascolta Patrice Munsel senza limiti su Qobuz e acquista gli album in Hi-Res 24-bit per una qualit sonora senza pari. Our website has been optimized for viewing in the latest versions of Chrome, Firefox, and Safari. Victor Hugos 1832 play Le Roi sAmuse, set at the court of King Franois I of France (circa 1520), is a blatant depiction of depraved authority. Armenian mezzo-soprano Varduhi Abrahamyan makes her Met debut as Maddalena. 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. Later this season, he will sing Wotan in Wagner's Das Rheingold at English National Opera, King Marke in Act III of Wagner's Tristan und Isolde in concert with the Deutsches Symphonie-Orchester Berlin, and Hunding in Wagner's Die Walkre in Naples. Rigoletto, a cursed court jester of the lustful Duke of Mantua, obsessively protects his daughter, Gilda. For more information, visit metopera.org. Between 2014 and 2020, he was music director of the Orchestra della Toscana, where he is currently artistic director. Quinn Kelsey as Rigoletto and Rosa Feola as Gilda in Verdi's "Rigoletto." Photo: Ken Howard / Met Opera. 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. Previous GREAT PERFORMANCES programs include "Romeo & Juliet" from the National Theatre, "The Arts Interrupted," "Reopening: The Broadway Revival" and "The Conductor." 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. Genre: Opera. Kelsey reprises the title role opposite Kristina Mkhitaryan as Gilda and Stephen Costello as the Duke of Mantua. Home Performances Rigoletto. Then there were tempo shifts that seemed to come out of nowhere, breaking the flow of the momentum and jerking you out of the action; moreover, they often felt out of control and unstable, rushing forward initially and then calming down. 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. or do we focus on Gildas preparations for her sexual encounter with the Duke? 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. We might use this to show you more relevant content, We might use this to let you know about interesting events to attend near you, We might use this to address you personally in our newsletters. In the context of the opera, the merely lovely music becomes inspired drama. For instance, the production included an elevator-like structure in the center of the stage that moved up and down in . 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. 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. Luiz Gazzola Opera Lively. The Age - Thu, 31 Oct 2019 . During the quartet, Bella figlia dellamore, Bernheim delivered another display of glorious legato singing. 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. 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. As he shouted out Addio from behind a closed door, Feolas Gilda shifted from tentative and nervous to sprightly and excited. In their Met debuts, Yulia Matochkina sings Maddalena, and Ante Jerkunica sings Sparafucile. 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. Our website has been optimized for viewing in the latest versions of Chrome, Firefox, and Safari. 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. 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). Discovered and promoted by Valery Gergiev, she began her career at the Mariinsky Theatre, collaborating . Her vocal approach to the role was perfectly aligned to her characterization. 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 performances are November 14, 17, 20mat, 26mat, 29, and December 3, 8, 11mat, 14, 17mat, 20, 23, and 29. He does manage some darker tableaus to fit with the general mood of Rigoletto, but he also relies heavily on the now cliched turntable that so many directors have aped repeatedly on the Met stage. Companies. Last season, he sang the Grand Inquisitor in the Met premiere of the five-act French version of Verdi's Don Carlos and the Ghost of King Hamlet / First Player / Gravedigger in the company premiere of Brett Dean's Hamlet. He remarks how both men are similarly toxic, a comparison that the opera continually draws between all the male characters as the story develops. Opera Met Opera's 2022-2023 Season Includes Rene Fleming and Kelli O'Hara in The Hours, Terence Blanchard's Champion, More. But he had a major triumph this year as the Grand Inquisitor in Don Carlos and then Don Carlo with the company, and hes arguably in even finer form here as the deadly assassin. Whats left to say, but that vocally this was some of the finest casts that the Met has assembled for a production this season. 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. The production starred baritone Quinn Kelsey in the titular role with Rosa Feola. The singers, who were all on their A-game, often sounded a bit uncomfortable. A new cast brings the Met's Rigolettoto life Kevin W Ng, 11th November Three major Metropolitan Opera debuts bring excitement and vocal glamour to this revival of Bartlett Sher's Rigolettoproduction. 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. 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. The fermata high A natural a few bars featured a beautiful portamento down an octave before the soprano took her time before even more delicate piano singing on lass in ciel, each one softer and slower than the one before, Gilda fading slowly while drawing the audience closer and closer to her every step of the way. Pari siamo is at the core of Rigoletto. Its in this moment, when the titular character, having been damned by another fallen father, meditates on a recent conversation with the murderer Sparafucile. For further details on Rigoletto, including casting by date, please click here. 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. The moment where this kind of tempo whiplash stood out more was right before Cortigiani, Rigolettos other big solo moment. : ','}}, 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). 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 so we come to the end. and the castwhich includes eljko Lui, Diana Damrau, Piotr Beczala . . 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. 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. Caro nome was a bit of a mixed bag for Feola. When Giovanna opened the door for her, she rushed out with tremendous excitement and you could feel the relief as she stepped outside into freedom, her arms spread wide to receive it; it was a truly visceral moment to behold. 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. Instead, Feolas has greater weight and heft, especially in the middle range where she has brightness but also potency that cuts through. This season, he begins his tenure as the principal guest conductor at the Bavarian State Opera. But the finest singing of the evening came from Benjamin Bernheim, making his long-overdue Met debut. Cast: Quinn Kelsey - Rigoletto Rosa Feola - Gilda Piotr Beczala - Duke of Mantua Craig Colclough - Monterone Varduhi Abrahamyan - Maddalena Andrea Mastroni - Sparafucile Scott Sully - Borsa. Once a seeming fixture with the company throughout the early 2000s, he stopped appearing after the 2016 season. But the rest of the duet was gloriously sung, with the sopranos fuller sound matching baritone Quinn Kelseys powerful baritone. There were other moments, where the textures simply didnt cohere. A revival for Sir David McVicar's staging from last season, but this time reverting from French to the four-act Italian version, conducted by Carlo Rizzi. SAS Performing Arts Concert Opera presents the only New York City performance of the Puccini work Il Trittico. 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. You could sense the insecurity she felt upon finding the Duke, her body shifting into a protective shell before allowing herself to be taken by him. Samson et Dalila (Saint-Sans) Tosca (Puccini) The Elixir of Love (Donizetti) 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. She made her debut at the Salzburg Festival in 2019, where she sang the role of Federica in a concert performance ofLuisa Miller. 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. camera operator Music Department Additional Crew Bartlett Sher . All performances to. GREAT PERFORMANCES is on Facebook+ follow @GPerfPBS on Twitter. For up-to-date casting go back to the previous page. Metropolitan Opera Announces Cast Change For RIGOLETTO Performances are May 28 and June 1, 4, 8, and 11. by Stephi Wild May. More information is available on the official website of the opera house. Have lunch with the cast of Rigoletto and hear excerpts from Verdi's masterpiece along with . The announcement was made via the company's social media page and no reason was given for the replacement. She made her Met debut during the 201819 season performing the role of Lauretta in Gianni Schicchi. There are plenty of vocal thrills in Sir David McVicar's new production of Giordano's revenge thriller at the Metropolitan Opera. It took but a moment before she was rushing away down the stairs. Varduhi Abrahamyan plays Maddalena and Andrea Mastroni plays Sparafucile. Croatian bass Ante Jerkunica makes his Met debut as Sparafucile this season. The famous Act III quartet, Bella figlia dellamore, is an ingenious musical analysis of the diverging reactions of the four principals in the same moment: The Dukes music rises with urgency and impatience, Gildas droops with disappointment, Rigolettos remains measured and paternal, while the promiscuous Maddalena is literally all over the place. From her feverish rushing down the stairs to greet her father, you could sense a character full of energy and aspiration. The most egregious circumstance however was a more subtle one. However, it included some glaring strange elements that were impossible to ignore. Production title: Rigoletto - The Metropolitan Opera (2021-2022) Creation date: 02/06/2019 Work - Composer: Rigoletto - Giuseppe Verdi Opera house: The Metropolitan Opera. His most-recent work on Broadway includes Tootsie, Kiss Me Kate, and My Fair Lady. But her experience as an operatic conductor was in full evidence, shading the orchestra and stretching the tempo like a true master. Even in the lower reaches of this section, his voice retained that gentility, always soft and warm. Returning from the premiere cast were Quinn Kelsey and Rosa Feola as Rigoletto and Gilda. She slowly crept up those stairs, the trepidation apparent, and glimpsed inside. Confusion, unless part of the thematic underpinning of the story, never makes for good storytelling. 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. Russian soprano Kristina Mkhitaryan makes her Met role debut as Gilda. Tony winner Ivo van Hove will also direct Mozart's Don Giovanni. Karen Kamensek will conduct the May and June performances of Verdi's Rigoletto, replacing Karel Mark Chichon. #PBSForTheArts is a multiplatform campaign that celebrates the arts in America. American rags, riches and everything in between. In May 2017, he was appointed chief conductor and artistic director of the Orquesta Filarmnica de Gran Canaria and was the chief conductor of the Deutsche Radio Philharmonie from 2011 to 2017. It gave off the aria less of a playful feel and emphasized the romantic longing of Gilda. 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 Met: Live in HD series is made possible by a generous grant from its founding sponsor, the Neubauer Family Foundation. Ei sta sotto ai miei piedi! 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 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. World premiere: Teatro La Fenice, Venice, 1851A dramatic journey of undeniable force, Rigoletto was immensely popular from its premiere and remains fresh and powerful to this day. After opening with hushed pianissimo on the opening line, his voice exploded with intensity and desperation before resorting back to another soft repetition of Quel vecchio maledivami! Bitterness ensued during O rabbia! Other recent highlights include Lauretta in Gianni Schicchi at the Bavarian State Opera, Norina in Don Pasquale and Adina in LElisir dAmore at La Scala, Fiorilla in Il Turco in Italiain Zurich, and Ilia in Idomeneo and Micala in Carmen in Rome. And then there was Quinn Kelsey. Pretty but Pointless. On the repeat of the melody, she spun a similarly delicate legato line, her high B flats fluid and sparkling. Schedule November 10, 2022 19:30:00 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. Industry Professionals. 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