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. 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. Conductor Daniele Rustioni takes the podium to lead a cast starring Quinn Kelsey in his Met role debut as Rigoletto, Rosa Feola as Gilda, and Piotr Beczaa as the Duke of Mantua. Visit Website. Instead, Feolas has greater weight and heft, especially in the middle range where she has brightness but also potency that cuts through. Canadian bass-baritone John Relyea, who just ended a highly . It gave off the aria less of a playful feel and emphasized the romantic longing of Gilda. 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. The most egregious circumstance however was a more subtle one. 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. It all started even a few bars earlier with a honeyed rendition of Ogni saggezza chiudesi nel gaudio e nellamore, Bernheim bringing managing a spellbinding diminuendo up the F sharp in the second half of the phrase. 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. Bartlett Sher's Weimar-inspired production premiered less than a year ago, and is eminently revivable. 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. The La r, la r, la r started off aggressive, the baritone placing forceful accents throughout. His Chi tha colpita? The Metropolitan Opera has announced a cast change for its spring run of "Rigoletto.". Jen has worked at KPBS since 2000. : ','}}, 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). Soprano Tamara Wilson portrays the virtuous duchess Elsa, falsely . The baritone Quinn . The music says one thing, the stage says another. and the castwhich includes eljko Lui, Diana Damrau, Piotr Beczala . Keep up with all the latest news, arts and culture, and TV highlights from KPBS. 3 hr 10 minNR Jan 29, 2022 Opera Cast & Crew Piotr BeczalaActor Quinn KelseyActor Rosa FeolaActor Ludovic TezierActor Stephen CostelloActor Daniele RustioniActor Later performances feature four additional stars, with baritones Luca Salsi and Michael Chioldi, soprano Lisette Oropesa, and tenor Stephen Costello taking over as Rigoletto, Gilda, and the Duke. 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. In January 2020, she performed recitals at New York Citys Park Avenue Armory and the Kennedy Center. His voice works beautifully in the acoustic of the Met, filling the auditorium with rich, golden tone, which he is able to bring down to a mere thread of sound. They offer both strong bones and flexibility . The Met: Live in HD series is made possible by a generous grant from its founding sponsor, the Neubauer Family Foundation. His most-recent work on Broadway includes Tootsie, Kiss Me Kate, and My Fair Lady. 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. David Frost is music producer and Peter Gelb is executive producer. 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. 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. Benjamin Bernheim filled the auditorium with a sound that was powerful, beautiful and intelligent. If you are using Internet Explorer or other browsers you may encounter problems with certain sections of our website. Producer: Don Judd. 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. Written during the most fertile period of Verdis artistic life, the opera resonates with a universality that is frequently called Shakespearean. 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. Opera in the Park; Don Giovanni (Mozart) . Its handsome sets and costumes drew an appreciative gasp from the audience, and the revolving set kept the action moving smoothly. For instance, the production included an elevator-like structure in the center of the stage that moved up and down in . During Pari siamo, Kelsey revealed the wide-ranging gamut of colors at his disposal. During the quartet, Bella figlia dellamore, Bernheim delivered another display of glorious legato singing. 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. He has appeared at many of the worlds leading opera houses and festivals, including Deutsche Oper Berlin, the Vienna State Opera, Lyric Opera of Chicago, San Francisco Opera, Washington National Opera, and the Salzburg Festival. But for all this chaos, it is worth noting that in moments where the singers sounded uncomfortable with her tempi, Scappucci was quick to adjust to them, allowing them to bring their best to the performance. 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. There was a gentle quality to Ah, veglia, o donna, questo fiore, but his scrambling about the place expressed his fear and worry, which was slowly assuaged by Feolas loving presence. 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. New York, NY (December 23, 2021)The Metropolitan Opera rings in the new year with a new production of Verdis Rigoletto on December 31, with an additional eight performances January 4January 29, 2022. Tony winner Ivo van Hove will also direct Mozart's Don Giovanni. 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. Additional details. As the scene progressed, you could sense him losing hope, his sound diminuendoing. duna tal vittoria, che? 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. 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. And then there was Quinn Kelsey. 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. His entire duet with Rigoletto in Act one was fascinating, the bass digging into his thick and earthy tone with each phrase. And so we come to the end. 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. Speranza Scappucci conducts Bartlett Sher's production. by Stephi Wild Oct. 25, 2022. On first listen, Feolas voice is not what has become the typical Gilda voice a light coloratura voice with extreme highs. 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. 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. Opera is thriving. 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. She also conducted the Met's original cast album of Akhnaten, which won the 2022 Grammy Award for Best Opera Recording. Once a seeming fixture with the company throughout the early 2000s, he stopped appearing after the 2016 season. We appreciate your patience. 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. Perhaps Feolas standout moment came in the ensuing act during Tutte le feste al tempio. The recitative that preceded the duet proper, Ciel! Tenor Stephen Costello is her self- centered lover Alfredo, alongside baritone Luca Salsi as his disapproving father, and Maestro Daniele Callegari on the podium. 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. 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. 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. Genre: Opera. She is originally from Las Vegas and attended UNLV. From the opening line of the recitativo to the end of the aria, Bernheim was all in on delivering a performance of utmost intensity. 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. His first Gilda! 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. Of course, Scappucci has license to interpret those tempo indications as she sees fit. And suddenly our attention shifts away from Rigolettos truly private and essential CHARACTER moment, to something else. The Tony Award-winning creative team, including director Bartlett Sher, set designer Michael Yeargan, costume designer Catherine Zuber, and lighting designer Donald Holder, sets the classic tragedy in 1920s Europe, featuring Art Deco sets and elegant costumes. Check out the latest photos and bios of the cast and filmmakers of The. This season, he begins his tenure as the principal guest conductor at the Bavarian State Opera. As Maddalena, Mezzo-soprano Aigul Akhmetshina displayed a plush and punchy sound that matched perfectly with bass John Relyea throughout the trio. 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. The answer was in this very guttural sound. Luiz Gazzola Opera Lively. Desperation took over with the subsequent phrases aggressive, accented, and frantic. Roger Hodgman, 53, is director of the Melbourne Theatre Company. 2022 | 13:00 Rigoletto, Verdi, The arias tempo marking is Andante mosso agitato while the preceding tempo indication is a faster one Allegro vivo. 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. From her feverish rushing down the stairs to greet her father, you could sense a character full of energy and aspiration. esser difforme, esser buffone, the voice shifting from grainy to soft and delicate as he sang Il retaggio dogni uom m tolto, il pianto.. 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. If you are using Internet Explorer or other browsers you may encounter problems with certain sections of our website. 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. The final Adagio preceding Parmi veder le lagrime featured an exquisite run up to a sparkling high B double flat and a subsequent pained diminuendo. AussieTheatre.com - Mon, 16 Mar 2020 . 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 broadcast is part of season 16 of GREAT PERFORMANCES AT THE MET includes 10 new operas. There was an aggressive nature to his opening scene, almost as if his Rigoletto were always on the defensive in this predatory world. Victorian Opera announces cast for The Who's Tommy. Presiding over the evening was Speranza Scappucci, also making an overdue debut. Our website has been optimized for viewing in the latest versions of Chrome, Firefox, and Safari. On the repeat of the melody, she spun a similarly delicate legato line, her high B flats fluid and sparkling. Il Trittico is comprised of three one act operas; Il Tabarro (The Cloak), Suor Angelica (Sister Angelica), and Gianni Schicchi. 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. 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. 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. 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. His 2014 interview with opera star Kristine Opolais was cited in a New York Times Review. 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. Runtime: 210 min. NYT Critic's Pick. But he's at his best in his scenes at home with Gilda, with a burnished legato and seemingly endless breath. One of the things that is so incredible about Rigoletto within Verdis oeuvre is its pacing. At the climactic La Maledizione he interpolated a high G flat and A flat, both delivered ferociously to end the night. A loud, unsubtle performance of a loud, unsubtle production the Met really deserves a new Aida. 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). Rigoletto, a cursed court jester of the lustful Duke of Mantua, obsessively protects his daughter, Gilda. But the finest singing of the evening came from Benjamin Bernheim, making his long-overdue Met debut. Metropolitan Opera House, . 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. Two artists make notable Met debuts: the tenor Benjamin Bernheim as the Duke of Mantua and the conductor Speranza Scappucci in the pit. 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. Kelsey reprises the title role opposite Kristina Mkhitaryan as Gilda and Stephen Costello as the Duke of Mantua. Skylark Opera Theatre returns to stage this Spring with the regional premiere of Jake Heggie's Three Decembers. With Varduhi Abrahamyan, Piotr Beczala, Rosa Feola, Quinn Kelsey. 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. Home Performances Rigoletto. Its an intimate passage and one of Verdis most radical (at the time). For up-to-date casting go back to the previous page. Performances are May 28 and June 1, 4, 8, and 11. and purity of tone. 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. 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!. 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?) Performance History. 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. The Tony Award-winning director resets the opera's action in 1920s Europe . 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. In the context of the opera, the merely lovely music becomes inspired drama. 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 . 2022 | 20:00 Rigoletto, Verdi, The Metropolitan Opera | New York City, United States fr. 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. American conductor Karen Kamensek is currently leading Philip Glass's Akhnaten at the Met, the production she made her company debut with in 2019. Met Opera | April 22, 2023 . Il Trittico is comprised of three one act operas; Il Tabarro (The Cloak), Suor Angelica (Sister Angelica), and Gianni Schicchi. . 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rigoletto met opera 2022 cast