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). 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, Skylark Opera Theatre To Present Regional Premiere Of Jake Heggie's THREE DECEMBERS. 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. Karel Mark Chichon conducts. Schedule November 10, 2022 19:30:00 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. It took but a moment before she was rushing away down the stairs. Rigoletto is the ninth opera Bartlett Sher has directed at the Met. Home Performances Rigoletto. Other performances are November 14, 17, 20mat, 26mat, 29, and December 3, 8, 11mat, 14, 17mat, 20, 23, and 29. 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. Quinn Kelsey, Benjamin Bernheim, Rosa Feola Shine Amidst Musical Chaos. Premieres Friday, June 17, 2022 at 9 p.m. on KPBS 2 / On demand with PBS Video App. Abbonamento a partire da 12,50/mese 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. The Metropolitan Opera: Rigoletto (2022) movie cast and actor biographies. This conversation features leaders of the Dallas Symphony, including Ross . 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. Varduhi Abrahamyan plays Maddalena and Andrea Mastroni plays Sparafucile. 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. Desperation took over with the subsequent phrases aggressive, accented, and frantic. When you have a tenor like this cast had, the choice is made that much more difficult. GREAT PERFORMANCES AT THE MET "Rigoletto" premieres Friday, June 17 on PBS as part of #PBSForTheArts. 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. His Cortigiani is utterly overwhelming, the emotional anchor of the entire work. 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. 29 des. Cast: Quinn Kelsey - Rigoletto Rosa Feola - Gilda Piotr Beczala - Duke of Mantua Craig Colclough - Monterone Varduhi Abrahamyan - Maddalena Andrea Mastroni - Sparafucile Scott Sully - Borsa. He capped off this incredible performance with a lengthy pause, which added tremendous emotional suspense to the moments following Gildas death. 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. The final duet was magnetic not only for Feolas interpretation but Kelseys pained pleas of Non morire, mio tesoro, pietade! But her experience as an operatic conductor was in full evidence, shading the orchestra and stretching the tempo like a true master. Check out the latest photos and bios of the cast and filmmakers of The. The opera, which remains as timely as ever, is undoubtedly one of Verdis and the entire canons greatest. 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? 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. Rigolettos role (which was never quite clear in Las Vegas) is at least back to status quo of Piaves libretto, even if this is yet another transposition. GREAT PERFORMANCES is on Facebook+ follow @GPerfPBS on Twitter. The climactic final B natural, and the preceding run, were delivered with bravura, the high note reverberating throughout the cavernous Met. Tenor Stephen Costello is her self- centered lover Alfredo, alongside baritone Luca Salsi as his disapproving father, and Maestro Daniele Callegari on the podium. Luiz Gazzola Opera Lively. and bright color palettes that have served him best in Rossini comedies at the Met are also on display. She is originally from Las Vegas and attended UNLV. Soprano Tamara Wilson portrays the virtuous duchess Elsa, falsely . A loud, unsubtle performance of a loud, unsubtle production the Met really deserves a new Aida. Far more traditional in tone than Michael Mayer's groovy 2013 Las Vegas Rat Pack Rigoletto, this staging . In the Duke's court he is appropriately terrifying, spitting words out with a cynical sneer. 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. Even when, moments later, her own father rushed to console her, you could feel the discomfort and even the sense of rejection as she moved away from him. The arias tempo marking is Andante mosso agitato while the preceding tempo indication is a faster one Allegro vivo. They met in 1979 in Rabe's home town of Vancouver, married five years . 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. 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. 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. 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. in the middle of his career. But hes here now and he was definitely worth the wait. NYT Critic's Pick. What they presented as soprano is actually coloratura, which is the very highest voice type, up there in the range of the very highest choral descants. But as the aria transitioned away from anger toward pleading, his voice correspondingly softened. 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. Presiding over the evening was Speranza Scappucci, also making an overdue debut. Russian soprano Kristina Mkhitaryan makes her Met role debut as Gilda. 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. Despite her frumpy costume, she's ideal for the role, clearly having the time of her life vamping around the stage. 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. Additional details. I've never heard a Gilda so convincingly sound like she is at death's door. 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. 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 . 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. Of course, Scappucci has license to interpret those tempo indications as she sees fit. Kelsey reprises the title role opposite Kristina Mkhitaryan as Gilda and Stephen Costello as the Duke of Mantua. He perhaps lacks the nastiness for the part, but more than makes up for it with an Act 2 aria of such tenderness and sincerity that I almost believed that the Duke could be in love with Gilda. The Age - Sat, 19 Feb 2022 . 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. The moment where this kind of tempo whiplash stood out more was right before Cortigiani, Rigolettos other big solo moment. In their Met debuts, Yulia Matochkina sings Maddalena, and Ante Jerkunica sings Sparafucile. The Age - Thu, 31 Oct 2019 . Metropolitan Opera Review - Rigoletto: Oropesa, Grigolo, Gagnidze Give Winning Performances In Vegas April 14, 2013 . In the role of the Duca di Mantua was tenor Benjamin Bernheim, who was supposed to debut at the Met a few years back, but had to wait thanks to COVID-19. But then the turntable starts to move. NEWSLETTERS: Sign up to keep up with all the latest news, arts and culture, and TV highlights from KPBS. {{::date | momentFormat:'D'}}{{$last ? '' As he rejected her desires for more knowledge, she responded with frustrated arm gestures that delineated the youth and angst of the character. Discovered and promoted by Valery Gergiev, she began her career at the Mariinsky Theatre, collaborating . Throughout the night it seemed that Scappucci was operating on extremes in terms of tempi. He punctuated the duet with an incredibly potent low F that he sustained while walking off stage all the way through the coda of the passage. From there his voice grew even more tender, each ensuing phrase a caress as he reached out toward his hurting daughter. Jen is a web producer at KPBS, responsible for program promotion, online membership-related activities, and is the editor of the KPBS community calendar. The 2009 recipient of the Met's Beverly Sills Artist Award, he made his company debut in 2000 as Alidoro in Rossini's La Cenerentola, followed by performances as Masetto in Mozart's Don Giovanni, Colline in Puccini's La Bohme, the Nightwatchman in Wagner's Die Meistersinger von Nrnberg, Vodnk in Dvok's Rusalka, Figaro in Mozart's Le Nozze di Figaro, Escamillo in Bizet's Carmen, and Gesler in Rossini's Guillaume Tell. Feola was in equally fine voice, her warm lyric soprano on the cusp on womanhood. American rags, riches and everything in between. 2022 | 19:00 Rigoletto, Verdi, The Metropolitan Opera | New York City, United States l. 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. . 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. 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. The Metropolitan Opera has announced that baritone Michael Chioldi will be taking on the lead role in Verdi's "Rigoletto." Chioldi will take over for Quinn Kelsey who debuted the new production by Bartlett Sher on New Year's Eve. He made his Met debut with a production of Il Barbiere di Siviglia during the 200607 season, followed by stagings of Les Contes dHoffmann, LElisir dAmore, Otello, and Romo et Juliette, as well as the company premieres of Le Comte Ory and Nico Muhlys Two Boys. His phrasing of il sol dellanima featured a polished legato line, each phrase building from the previous one before blossoming into a sublime high B flat on per te that then melted into an equally impassioned diminuendo on the ensuing dinvidia agli uomini sar per te. The return of this vocal ascent was somehow even more potent than the previous one with the diminuendo even stronger, a sign of the vocal flexibility that Bernheim displayed throughout. The announcement was made via the company's social media page and no reason was given for the replacement. 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. Audience. 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. The Metropolitan Opera has announced a cast change for its spring run of "Rigoletto.". ) right before the final duet was almost howled, its effect spine-chilling. Visit Website. Tony winner Ivo van Hove will also direct Mozart's Don Giovanni. Verdi: Rigoletto: Directed by Gary Halvorson. 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. esser difforme, esser buffone, the voice shifting from grainy to soft and delicate as he sang Il retaggio dogni uom m tolto, il pianto.. 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. And while that is true, the turntable also becomes a distraction here at some key dramatic moments. And then there was Quinn Kelsey. And OperaWire came about as a desire to take in as much of it and allow the passionate fan base access to everything this wondrous art form has to offer on a daily basis. She frequently sings at Moscows Bolshoi Theatre, Deutsche Oper Berlin, Teatro dellOpera di Roma, and LA Opera. 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