She slowly crept up those stairs, the trepidation apparent, and glimpsed inside. 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. American lighting designer Donald Holders credits at the Met include the Gershwins Porgy and Bess, Die Zauberflte, Nico Muhlys Two Boys, Otello, and Samson et Dalila. After a lauded premiere on New Years Eve 2021, Bartlett Shers Art Decoinspired production of Verdis ever-popular masterpiece returns for its first revival. They offer both strong bones and flexibility . That said, this is a step up from the Las Vegas episode. 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. Rigoletto | Opera | Voorstellingen, schema en kaartjes | Gran Teatre del Liceu | Bekijk meer informatie op Operabase A dream cast assembles for Strauss's grand Viennese comedy. Metropolitan Opera House, . On first listen, Feolas voice is not what has become the typical Gilda voice a light coloratura voice with extreme highs. American rags, riches and everything in between. 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. 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. Solo per me linfamia, instead of bitter and reproachful, sounded sorrowful and hurt in its approach. In the final Act, Feola drove the quartet dramatically. 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. 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. Production title: Rigoletto - The Metropolitan Opera (2021-2022) Creation date: 02/06/2019 Work - Composer: Rigoletto - Giuseppe Verdi Opera house: The Metropolitan Opera. 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. The Age - Sat, 19 Feb 2022 . 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 . Rigoletto Music by Giuseppe Verdi Libretto by Francesco Maria Piave Premiered March 11, 1851, La Fenice (Venice, Italy) Verdi's Italian masterpiece opens Opera Colorado's 40th Anniversary Season, featuring unforgettable music, including the effervescent "La donna mobile." Jen is a web producer at KPBS, responsible for program promotion, online membership-related activities, and is the editor of the KPBS community calendar. NEWSLETTERS: Sign up to keep up with all the latest news, arts and culture, and TV highlights from KPBS. 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. Baritone Quinn Kelsey portrays the title role at the Met for the first time, starring alongside soprano Rosa Feola as Gilda and tenor Piotr Beczaa as the Duke of Mantua. She has also sung Gilda at the Bavarian State Opera, Lyric Opera of Chicago, Ravenna Festival, and in Rome, Zurich, Turin, and Savona. American conductor Karen Kamensek is currently leading Philip Glass's Akhnaten at the Met, the production she made her company debut with in 2019. The answer was in this very guttural sound. The singers, who were all on their A-game, often sounded a bit uncomfortable. He made his Met debut in 1993 with Elijah Moshinskys production of Ariadne auf Naxos, which also returns this season. 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. 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. Genre: Opera. 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. ) right before the final duet was almost howled, its effect spine-chilling. Let's hope that this marks the first of many Met visits for her, Bernheim, and Akhmetshina. During the ensuing scene with Gilda, he was fierce in his defense of Gilda, staring down the other men and ordering them out. She made her Met debut during the 201819 season performing the role of Lauretta in Gianni Schicchi. In their Met debuts, Yulia Matochkina sings Maddalena, and Ante Jerkunica sings Sparafucile. But Pari siamo also allows us to see the purity and hope inside of Rigolettos heart, the possibility of him separating himself from the pack of predators. At the climactic La Maledizione he interpolated a high G flat and A flat, both delivered ferociously to end the night. Also this season at the Met, he conducts performances of Le Nozze di Figaro in January. in the middle of his career. During the trio, he erupted with the firepower that hed displayed in Don Carlo, his voice booming over the orchestral torrent, his phrasing precise and pointed. Start Free 7-Day Trial Rent for $4.99 GREAT PERFORMANCES is on Facebook+ follow @GPerfPBS on Twitter. Far more traditional in tone than Michael Mayer's groovy 2013 Las Vegas Rat Pack Rigoletto, this staging . You could feel the fear, the shame, the pain, and in one brief moment, the anger of what had happened to her. Speranza Scappucci conducts Bartlett Sher's production. If you are using Internet Explorer or other browsers you may encounter problems with certain sections of our website. Italian bass Andrea Mastroni reprises his portrayal of Sparafucile, a role he has previously sung at the Met in 2017 and La Scala. 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 . Benjamin Bernheim filled the auditorium with a sound that was powerful, beautiful and intelligent. Instead, Feolas has greater weight and heft, especially in the middle range where she has brightness but also potency that cuts through. 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. 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 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. Director: Leo Paur. But the rest of the duet was gloriously sung, with the sopranos fuller sound matching baritone Quinn Kelseys powerful baritone. Russian soprano Kristina Mkhitaryan makes her Met role debut as Gilda. For its first staging of the opera in 17 years, the Met assembled a superb cast which combined with the Metropolitan Opera Chorus and Orchestra under the baton of Yannick . Met Opera | April 15, 2023. Ascolta Patrice Munsel senza limiti su Qobuz e acquista gli album in Hi-Res 24-bit per una qualit sonora senza pari. 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). 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. 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. From there his voice grew even more tender, each ensuing phrase a caress as he reached out toward his hurting daughter. In a remarkable career spanning six decades in the theater, Giuseppe Verdi (18131901) composed 26 operas, at least half of which are at the core of todays repertoire. Elsewhere this season, he sings Sarastro at the Vienna State Opera. The mezzo-soprano Aigul Akhmetshina is making her debut in the role of Maddalena. Taking on that task in this production was Speranza Scappucci, making her Metropolitan Opera debut. While she got off to a promising start during that Preludio, the string tremolos surging forward toward the fortissimo orchestral explosions, things started to get a bit hairy once the singers took the stage. Mozart's Idomeneo. Directed for the screen by Gary Halvorson. 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. 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. Visit Website. But at the very least its coherent narratively. Jen has worked at KPBS since 2000. All performances to. 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. Two artists make notable Met debuts: the tenor Benjamin Bernheim as the Duke of Mantua and the conductor Speranza Scappucci in the pit. Digital support of The Met: Live in HD is provided by Bloomberg Philanthropies. 2022-12-22 ANNOUNCEMENT Ekaterina Sannikova signs with TACT for General Management The conductor taking on this opera is very much a storyteller from those opening trombone calls to the final tutti D flat on which the opera ends. Once a seeming fixture with the company throughout the early 2000s, he stopped appearing after the 2016 season. Studio: The Metropolitan Opera. 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. Quinn Kelsey and Rosa Feola lead a superb cast in Bartlett Sher's new staging of Verdi's classic drama. The Metropolitan Opera Announces 202324 Season, Review: Mets New LOHENGRIN Is Thrillingly Sung but Close Your Eyes and Listen, The 2023 George London Award Winners Are Announced; Five Young Opera Singers Win $12,000 Prize, Review: THE SAN DIEGO OPERA'S PUCCINI DUO at San Diego Civic Center Theater. This season at the Met, she also sings Olga in Eugene Onegin. 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. But these emphatic tempi shifts stood out as unrefined for a number of reasons. There were other moments, where the textures simply didnt cohere. And instead of doing the predictable crescendo from Vieni, e senti to the high B flat on palpitar, Bernheim actually diminuendoed the phrases, luring us in, before springing the high note with an even more intense forte, emphasizing the Dukes manipulative game. GREAT PERFORMANCES AT THE MET "Rigoletto" premieres Friday, June 17 on PBS as part of #PBSForTheArts. It gave off the aria less of a playful feel and emphasized the romantic longing of Gilda. This conversation features leaders of the Dallas Symphony, including Ross . 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 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. Rigoletto has remained a staple at the Met forever. For up-to-date casting go back to the previous page. She has designed for opera houses around the world, including English National Opera, Washington National Opera, San Francisco Opera, and the Salzburg Festival. Francesco Maria Piave (1810-76), Verdi's librettist for Rigoletto, collaborated with him on ten works, including Ernani, La Traviata, La Forza del Destino, and the original versions of Macbethand Simon Boccanegra. The 70-minute work, scored for four singers and instrumental septet, is a lighthearted science-fiction opera that looks at the purpose of art in challenging times through the lens of comedy. His most-recent work on Broadway includes Tootsie, Kiss Me Kate, and My Fair Lady. 133 subscribers The 2022 Metropolitan Opera production of Giuseppi Verdi's Rigoletto was incredible to watch. 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. She also conducted the Met's original cast album of Akhnaten, which won the 2022 Grammy Award for Best Opera Recording. His first Gilda! Rigoletto, a cursed court jester of the lustful Duke of Mantua, obsessively protects his daughter, Gilda. She brought a seemingly endless supply of energy to the evening, with swift tempi and impressively monolithic brass. 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. 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. More information is available on the official website of the opera house. 31 Dec 2021 - 11 Jun 2022. His role in Italys cultural and political development has made him an icon in his native country. 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. 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 French tenor Benjamin Bernheim as the Duke in Verdi's "Rigoletto," which returned to the. Tenor Stephen Costello is her self- centered lover Alfredo, alongside baritone Luca Salsi as his disapproving father, and Maestro Daniele Callegari on the podium. Her vocal approach to the role was perfectly aligned to her characterization. That already tells the audience to shift its focus to whats about to happen. David Frost is music producer and Peter Gelb is executive producer. Grinnell College will stream "Rigoletto" on Jan. 29 as part of the Met's 2021-22 Live in HD season. Bartlett Sher's Weimar-inspired production premiered less than a year ago, and is eminently revivable. 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. She is originally from Las Vegas and attended UNLV. But most of the night, and especially in these fast sections, the weight in the lower strings was completely inaudible (please note that I was in the orchestra section and that might have had something to do with that experience). Croatian bass Ante Jerkunica makes his Met debut as Sparafucile this season. 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. Italian soprano Rosa Feola returns to the Met this season as Gilda, the role of her 2019 company debut. 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). Audience. Perhaps Feolas standout moment came in the ensuing act during Tutte le feste al tempio. The recitative that preceded the duet proper, Ciel! John Relyea will make his Met role debut as Sparafucile in Verdi's Rigoletto, replacing Andrea Mastroni. 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. Cast: Joseph Paur,Frank Gerrish,Ivey Lloyd . He capped off this incredible performance with a lengthy pause, which added tremendous emotional suspense to the moments following Gildas death. Industry Professionals. 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. For more information, visit metopera.org. Bass-baritone John Relyea is Sparafucile, and mezzo-soprano Aigul Akhmetshina also debuts as Maddalena. Opera in the Park; Don Giovanni (Mozart) . Keep up with all the latest news, arts and culture, and TV highlights from KPBS. The HD broadcasts are supported by Toll Brothers, America's luxury home builder. Curated conversation and digital shorts are also available on PBS social media platforms using #PBSForTheArts. This choice also fit in nicely with the coloratura, generating a fluidity throughout. 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. The story, based on a controversial play by Victor Hugo, tells of an outsidera hunchbacked jesterwho struggles to balance the dueling elements of beauty and evil that exist in his life. In January 2020, she performed recitals at New York Citys Park Avenue Armory and the Kennedy Center. Varduhi Abrahamyan plays Maddalena and Andrea Mastroni plays Sparafucile. Luiz Gazzola Opera Lively. . Runtime: 210 min. Its handsome sets and costumes drew an appreciative gasp from the audience, and the revolving set kept the action moving smoothly. 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. Compounding Bernheims performance during this scene was how much fun he seemed to be having, not only flirting with Akhmetshina, but even caressing a cross on the wall, a childish smile on his face. The Metropolitan Opera. 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. 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). and the castwhich includes eljko Lui, Diana Damrau, Piotr Beczala . Kelsey reprises the title role opposite Kristina Mkhitaryan as Gilda and Stephen Costello as the Duke of Mantua. But the ensuing Act is where her commitment to the character was at its most powerful. Even if the Duke is a thankless role dramatically, it's the perfect showcase for his elegant tenor. Though her voice is not especially large it carries nicely, especially her plummy chest voice. The Met Operas faithfulness to Michael Mayers increasingly unnerving Las Vegas production which, once youve experienced the saturation from the spectacle itself, comes off as rather empty in its storytelling. And suddenly our attention shifts away from Rigolettos truly private and essential CHARACTER moment, to something else. 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. 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. Whats left to say, but that vocally this was some of the finest casts that the Met has assembled for a production this season. As he shouted out Addio from behind a closed door, Feolas Gilda shifted from tentative and nervous to sprightly and excited. 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 The Age - Thu, 31 Oct 2019 . {{::date | momentFormat:'D'}}{{$last ? '' He has previously conducted at opera companies around the world, including the Bavarian State Opera, Paris Opera, Deutsche Oper Berlin, Vienna State Opera, Teatro Real in Madrid, and Gran Teatre del Liceu in Barcelona. 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