American tenor Stephen Costello reprises his portrayal of the Duke of Mantua, a role he previously performed in 2015 at the Met. Confusion, unless part of the thematic underpinning of the story, never makes for good storytelling. 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. His initial recitativo was colored by bitterness with the ensuing smoothness of his legato on E dove ora sar quellangiol caro? transitioning into a warmer timbre that hinted at his longing for Gilda. But when he realized the Duke was still alive, his body contorted, and his sound suddenly dimmed as he wondered what had happened. That didnt last long as he took on a harder and more aggressive edge with S vendetta, exploding with a sound at the climax of this passage. 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. It gave off the aria less of a playful feel and emphasized the romantic longing of Gilda. Keep up with all the latest news, arts and culture, and TV highlights from KPBS. AussieTheatre.com - Mon, 16 Mar 2020 . The ensuing stanza was sung with a similar gentleness, but you could feel that she was taking a bit more time with it, thus amplifying the intensity so that the second climax to the high A, despite a similar dynamic phrasing, had a punchier, emotional impact and set up the increased agitation of what follows. The customary dark leather jacket that is a staple of the Sher operatic universe is here (its really something that the Duke of Mantua, Romeo, Count Almaviva, and Otello, all get to wear the same-looking coat at some point in their respective operas; perhaps theres some thematic connection there?) The collection of #PBSForTheArts programs is available at pbs.org/arts and the PBS Video app. We are doing maintenance on the website until approximately 1 am ET Friday, February 10. 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. Desperation took over with the subsequent phrases aggressive, accented, and frantic. If you are using Internet Explorer or other browsers you may encounter problems with certain sections of our website. 2022-23 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 Synopses adesso non ridete? was heavily accented, allowing Kelsey to really express Rigolettos fury. 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. This choice also fit in nicely with the coloratura, generating a fluidity throughout. 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. 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), Toll BrothersMetropolitan Opera International Radio Network. 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 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. The HD broadcasts are supported by Toll Brothers, America's luxury home builder. He remarks how both men are similarly toxic, a comparison that the opera continually draws between all the male characters as the story develops. I've never heard a Gilda so convincingly sound like she is at death's door. She has also held tenures as deputy music director of Staatsoper Hamburg, interim chief conductor at the Maribor Slovene National Theatre, and first kapellmeister at the Vienna Volksoper. 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. Carlos lvarez performs in the title role, alongside Lisette Oropesa and Liparit . Varduhi Abrahamyan makes her Met debut as Maddalena, and Andrea Mastroni is Sparafucile. Il Trittico is comprised of three one act operas; Il Tabarro (The Cloak), Suor Angelica (Sister Angelica), and Gianni Schicchi. Mozart's Idomeneo. 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. Its an intimate passage and one of Verdis most radical (at the time). Even if the Duke is a thankless role dramatically, it's the perfect showcase for his elegant tenor. camera operator Music Department Additional Crew Bartlett Sher . In the Duke's court he is appropriately terrifying, spitting words out with a cynical sneer. Arizona Operas programming includes something for everyone, from tried-and-true opera lovers to school-aged children and everyone in between. For GREAT PERFORMANCES: Bill ODonnell is series producer; David Horn is executive producer. She is originally from Las Vegas and attended UNLV. Perhaps Feolas standout moment came in the ensuing act during Tutte le feste al tempio. The recitative that preceded the duet proper, Ciel! He also holds a dual bachelors from Hofstra University in Film Production and Journalism. and bright color palettes that have served him best in Rossini comedies at the Met are also on display. Also this season at the Met, he conducts performances of Le Nozze di Figaro in January. 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. She also conducted the Met's original cast album of Akhnaten, which won the 2022 Grammy Award for Best Opera Recording. The Met: Live in HD is supported by Rolex. The broadcast is part of season 16 of GREAT PERFORMANCES AT THE MET includes 10 new operas. 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. Then theres some bizarre choices like the sudden abstraction during the Act three trio where the lights go red inside the inn and Gilda has a seeming out of body experience? Additional details. For the Met: Mia Bongiovanni is supervising producer and Louisa Briccetti and Victoria Warivonchik are producers. 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. Armenian mezzo-soprano Varduhi Abrahamyan makes her Met debut as Maddalena. 17 des. The opera will mark Morley's return to the Met following her . Our website has been optimized for viewing in the latest versions of Chrome, Firefox, and Safari. 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. But the rest of the duet was gloriously sung, with the sopranos fuller sound matching baritone Quinn Kelseys powerful baritone. Italian conductor Daniele Rustioni returns to the Met after previously conducting Aida in 2017. But her experience as an operatic conductor was in full evidence, shading the orchestra and stretching the tempo like a true master. For up-to-date casting go back to the previous page. GREAT PERFORMANCES is on Facebook+ follow @GPerfPBS on Twitter. One of the things that is so incredible about Rigoletto within Verdis oeuvre is its pacing. Karel Mark Chichon conducts. Arizona Operas programming includes something for everyone, from tried-and-true opera lovers to school-aged children and everyone in between. Luiz Gazzola Opera Lively. Its handsome sets and costumes drew an appreciative gasp from the audience, and the revolving set kept the action moving smoothly. Elsewhere this season, he sings Sarastro at the Vienna State Opera. Visit Website. Metropolitan Opera Review - Rigoletto: Oropesa, Grigolo, Gagnidze Give Winning Performances In Vegas April 14, 2013 . Though her voice is not especially large it carries nicely, especially her plummy chest voice. But he's at his best in his scenes at home with Gilda, with a burnished legato and seemingly endless breath. 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. Verdi: Rigoletto: Directed by Gary Halvorson. Samson et Dalila (Saint-Sans) Tosca (Puccini) The Elixir of Love (Donizetti) David Frost is music producer and Peter Gelb is executive producer. 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. 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. 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. 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 Metropolitan Opera: Rigoletto (2022) movie cast and actor biographies. He made his Met debut in 1993 with Elijah Moshinskys production of Ariadne auf Naxos, which also returns this season. Her body was full of fear and confusion as she ran about the turning table, women racing after her to undress her. Industry Professionals. 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. 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. Description New production. It took but a moment before she was rushing away down the stairs. 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. 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!. Prior to creating OperaWire, DAVID SALAZAR, (Editor-in-Chief) worked as a reporter for Latin Post where he interviewed major opera stars including Placido Domingo, Anna Netrebko, Vittorio Grigolo, Diana Damrau and Rolando Villazon among others. Feola was in equally fine voice, her warm lyric soprano on the cusp on womanhood. They met in 1979 in Rabe's home town of Vancouver, married five years . 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. 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. Elegant is probably an apt word for his performance on the whole, especially for this opera where the Duke is called on to sing one glorious, soaring bel canto melody after another. A Verdi favorite, Rigoletto is set in the rich and decadent Italian Renaissance and features some of opera's most famous arias! Benjamin Bernheim filled the auditorium with a sound that was powerful, beautiful and intelligent. (Who struck you? Giuseppe Verdi's ever-popular masterpiece returns for a performance starring Lisette Oropesa, Aigul Akhmetshina, Stephen Costello, and Luca Salsi in . And while that is true, the turntable also becomes a distraction here at some key dramatic moments. A new 'guide' can help. Caro nome was a bit of a mixed bag for Feola. Yet, somehow, Andante mosso agitato was decidedly faster than the Allegro Vivo. During Pari siamo, Kelsey revealed the wide-ranging gamut of colors at his disposal. 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. 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. in the middle of his career. Other aspects work better, including the dark alley scene between Rigoletto and Sparafucile, which also makes an argument for the less is more principle. 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. Between 2014 and 2020, he was music director of the Orchestra della Toscana, where he is currently artistic director. Curated conversation and digital shorts are also available on PBS social media platforms using #PBSForTheArts. Continues through Jan. 29 with this cast and conductor at the Metropolitan Opera, Manhattan; metopera.org. Runtime: 210 min. If her high E flat at the end of act two was a touch effortful, she more than made up for it with some ravishingly soft singing in the final scene. Performances are May 28 and June 1, 4, 8, and 11. '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. Start Free 7-Day Trial Rent for $4.99 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). Francesco Maria Piave (181076), Verdis librettist for Rigoletto, collaborated with him on ten works, including Ernani, La Traviata, La Forza del Destino, and the original versions of Macbeth and Simon Boccanegra. 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. The Met rings in the new year with the gala premiere of a bold new take on Verdi's timeless tragedy from Bartlett Sher. Met Opera | April 15, 2023. esser difforme, esser buffone, the voice shifting from grainy to soft and delicate as he sang Il retaggio dogni uom m tolto, il pianto.. Verdi doesnt waste a moment and every single note in the piece plays a crucial role in building its tension and tragedy. 3 hr 10 minNR Jan 29, 2022 Opera Cast & Crew Piotr BeczalaActor Quinn KelseyActor Rosa FeolaActor Ludovic TezierActor Stephen CostelloActor Daniele RustioniActor 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. 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. But hes here now and he was definitely worth the wait. Marullo, signore, tu chhai lalma gentil come il core retained some of the edge and accents, with the final ohime of the section sounding bitter, almost as if Rigoletto were disgusted at having to plead with these vil razza for help. 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. These PDFs do not include cast changes that occurred after the program went to print. During his time at Fordham, he studied abroad at the Jagiellonian University in Poland. NYT Critic's Pick. 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. A second run of performances in the spring features baritone Ludovic Tezier, soprano Kristina Mkhitaryan, and tenor Stephen Costello, conducted by Karel Mark Chichon. Producer: Don Judd. On first listen, Feolas voice is not what has become the typical Gilda voice a light coloratura voice with extreme highs. Premieres Friday, June 17, 2022 at 9 p.m. on KPBS 2 / On demand with PBS Video App. But at the very least its coherent narratively. His body opened up at its most forte, as if ready to take on the world, only to shrink back into itself on his piano lines. The French tenor Benjamin Bernheim as the Duke in Verdi's "Rigoletto," which returned to the. 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. 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. and the castwhich includes eljko Lui, Diana Damrau, Piotr Beczala . Presiding over the evening was Speranza Scappucci, also making an overdue debut. Directed for the screen by Gary Halvorson. Other performances are November 14, 17, 20mat, 26mat, 29, and December 3, 8, 11mat, 14, 17mat, 20, 23, and 29. Roger Hodgman, 53, is director of the Melbourne Theatre Company. Even when they struggled with the tempo at the start of Addio addio, they barely missed a step, finding one another and surging forward. Directors love Wagner's operas, which infuse the suggestive sketchiness of parables into clearly conceived plots and characters. At the climactic La Maledizione he interpolated a high G flat and A flat, both delivered ferociously to end the night. 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. In Act two, he arrived on the scene like a man on a mission, his head on a swivel, his body frantic as it searched for his missing Gilda. 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. For up-to-date casting go back to the previous page. David holds a Masters in Media Management from Fordham University. 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. This was a performance to remember from Kelsey, who drew you in with a truly immersive and powerful characterization. Our website has been optimized for viewing in the latest versions of Chrome, Firefox, and Safari. With Varduhi Abrahamyan, Piotr Beczala, Rosa Feola, Quinn Kelsey. Karel Mark Chichon conducts. Too often, these are underrehearsed affairs, with unimaginative casting and uninspired direction. He has served as principal conductor the Opra National de Lyon since 2017 and chief conductor of the Ulster Orchestra since 2019. For more information, visit metopera.org. The production of Verdi's final opera will star Mark Delavan as Sir John Falstaff, Brian Major as Ford, Rachel Blaustein as Nannetta, Mary Feminear as Alice Ford, Allegra De Vita as Meg Page, Catherine Martin as Mistress Quickly, Yi Li as Fenton, Mauricio Miranda as Dr. Caius, Joseph Michael Brent as Bardolfo, and Andrea Silvestri as Pistola. 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. 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. 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. 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. 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. There are plenty of vocal thrills in Sir David McVicar's new production of Giordano's revenge thriller at the Metropolitan Opera. 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. 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. Lisette has given 68 performances as Gilda. 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. They offer both strong bones and flexibility . S, la mia figlia! Other appearances include Sibel in Faust at Covent Garden, Bradamante in Alcina in Zurich, and Malcolm in La Donna del Lago at Pesaros Rossini Opera Festival. She made her debut at the Salzburg Festival in 2019, where she sang the role of Federica in a concert performance ofLuisa Miller. The Opra National de Lyon since 2017 and chief conductor of the Orchestra della Toscana, where she the. 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