Kelsey reprises the title role opposite Kristina Mkhitaryan as Gilda and Stephen Costello as the Duke of Mantua. Wagner's soaring masterpiece makes its triumphant return to the Met stage after 17 years. Ei sta sotto ai miei piedi! 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. 133 subscribers The 2022 Metropolitan Opera production of Giuseppi Verdi's Rigoletto was incredible to watch. 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. They felt detached from transitions into them, when they existed (like in Cortigiani). 2010-2023 Bachtrack Ltd. All rights reserved. 2022 | 20:00 Rigoletto, Verdi, The Metropolitan Opera | New York City, United States fr. or do we focus on Gildas preparations for her sexual encounter with the Duke? April 5, 2022 at 11 a.m. Winter Park Library and Events Center 1052 W Morse Boulevard | Winter Park, FL 32789 . 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. 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. Rigoletto Worldwide Broadcasts in Cinema, Radio, and Online. Samson et Dalila (Saint-Sans) Tosca (Puccini) The Elixir of Love (Donizetti) Recently, he performed Sarastro in Die Zauberflte in Cologne, Philip II in excerpts of Don Carlo at Deutsche Oper Berlin, and Osmin in Die Entfhrung aus dem Serail at the Hamburg State Opera. Despite her frumpy costume, she's ideal for the role, clearly having the time of her life vamping around the stage. 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. 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. 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 Rigoletto has remained a staple at the Met forever. 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). 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). Karel Mark Chichon conducts. duna tal vittoria, che? (Who struck you? Speranza Scappucci conducts Bartlett Sher's production. Canadian bass-baritone John Relyea, who just ended a highly . Solo per me linfamia, instead of bitter and reproachful, sounded sorrowful and hurt in its approach. She has conducted Verdi's Rigoletto at the Hamburg State Opera, Theater Freiburg, and Malm Opera. Classical Music Opera The Met: "Rigoletto" (Review) Feb. 8 and Feb. 19 at 8, Feb. 12 at 7:30, and Feb. 16 at 1: . 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. Arizona Operas programming includes something for everyone, from tried-and-true opera lovers to school-aged children and everyone in between. A second run of performances in the spring features baritone Ludovic Tezier, soprano Kristina Mkhitaryan, and tenor Stephen Costello, conducted by Karel Mark Chichon. Written during the most fertile period of Verdis artistic life, the opera resonates with a universality that is frequently called Shakespearean. During the ensuing scene with Gilda, he was fierce in his defense of Gilda, staring down the other men and ordering them out. In a recent interview with OperaWire, composer Lori Laitman noted that Verdis Rigoletto was among her favorite operas. SAS Performing Arts Concert Opera presents the only New York City performance of the Puccini work Il Trittico. and purity of tone. This product includes GeoLite2 data created by MaxMind, available from, Guilty pleasures: Yoncheva stars in a new, A fine showing for the 1884 Italian version of, To add a comment, please sign in or register. The Met Operas faithfulness to Michael Mayers increasingly unnerving, Taking on that task in this production was, In the role of Sparafucile, Relyea continued his revival with the company. Yet, somehow, Andante mosso agitato was decidedly faster than the Allegro Vivo. 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. 2022 | 19:00 Rigoletto, Verdi, The Metropolitan Opera | New York City, United States ti. 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. 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. 2022-12-22 ANNOUNCEMENT Ekaterina Sannikova signs with TACT for General Management The French tenor Benjamin Bernheim as the Duke in Verdi's "Rigoletto," which returned to the. For the Met: Mia Bongiovanni is supervising producer and Louisa Briccetti and Victoria Warivonchik are producers. 2022 | 13:00 Rigoletto, Verdi, 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. It will help us make your newsletter content more useful. In the final Act, Feola drove the quartet dramatically. 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 Met rings in the new year with the gala premiere of a bold new take on Verdi's timeless tragedy from Bartlett Sher. The climactic final B natural, and the preceding run, were delivered with bravura, the high note reverberating throughout the cavernous Met. 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. Despite some strange costuming, she did her utmost to provide intricate characterization and development. Once a seeming fixture with the company throughout the early 2000s, he stopped appearing after the 2016 season. Let's hope that this marks the first of many Met visits for her, Bernheim, and Akhmetshina. 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. For up-to-date casting go back to the previous page. Met Opera | April 15, 2023. Elsewhere this season, he sings Sarastro at the Vienna State Opera. The collection of #PBSForTheArts programs is available at pbs.org/arts and the PBS Video app. 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 . 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. And, because of how extreme these tempi were, a lot of the rich orchestral details felt underplayed or ignored. 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. She is originally from Las Vegas and attended UNLV. Recent highlights this season include conducting Mozart's Die Zauberflte at Lyric Opera of Chicago, the world premiere of Philip Glass's Alice in Strasbourg, Mozart's Cos fan tutte at Arizona Opera, and concerts with the Orchestre Chambre de Paris and Charlotte Symphony Orchestra. 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. This was present at the Allegro vivo following Rigolettos Ah no: folia at the end of Pari siamo and then at the start of Addio speranza ed anima. It was present in the middle of Act two Gilda-Rigoletto duet Tutte le feste al tempio with Rigolettos entrance Ah! With Varduhi Abrahamyan, Piotr Beczala, Rosa Feola, Quinn Kelsey. The Met: Live in HD is supported by Rolex. The Metropolitan Opera ended its mid-winter hiatus with the much anticipated premiere of Franois Girard's production of Wagner's Lohengrin on Sunday afternoon. And while that is true, the turntable also becomes a distraction here at some key dramatic moments. We are doing maintenance on the website until approximately 1 am ET Friday, February 10. His Cortigiani is utterly overwhelming, the emotional anchor of the entire work. SAS Performing Arts Concert Opera presents the only New York City performance of the Puccini work Il Trittico. Italian soprano Rosa Feola returns to the Met this season as Gilda, the role of her 2019 company debut. Production title: Rigoletto - The Metropolitan Opera (2021-2022) Creation date: 02/06/2019 Work - Composer: Rigoletto - Giuseppe Verdi Opera house: The Metropolitan Opera. She slowly crept up those stairs, the trepidation apparent, and glimpsed inside. If you are using Internet Explorer or other browsers you may encounter problems with certain sections of our website. The performance of Rigoletto on Saturday, January 29, 2022, will be transmitted live to cinemas around the globe as part of The Met: Live in HD series and broadcast over the Toll BrothersMetropolitan Opera International Radio Network. From the opening line of the recitativo to the end of the aria, Bernheim was all in on delivering a performance of utmost intensity. The Royal Opera Season will open with a new production of Verdi's Rigoletto, directed by Oliver Mears, which will be his first production since becoming The Royal Opera's Director of Opera in 2017.The new production will receive its premiere in September 2021, with Music Director Antonio Pappano conducting. 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. In January 2020, she performed recitals at New York Citys Park Avenue Armory and the Kennedy Center. He has served as principal conductor the Opra National de Lyon since 2017 and chief conductor of the Ulster Orchestra since 2019. The Vienna State Opera's production of Rigoletto did its job, proving an appropriately grim staging for a very dark opera. 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. Videos. Rigoletto | Opera | Performances, schedule and tickets | The Metropolitan Opera | View more information on Operabase . That Kelsey matched her phrasing only added to the impact of this glorious moment. Throughout Feola opted for a more connected vocal line, with the opening melodys (which starts, essentially, with a descending E major scale) eighth rests less pronounced. When you have a tenor like this cast had, the choice is made that much more difficult. American rags, riches and everything in between. Taking in the work on Monday, Nov. 14, 2022 for the first time in years, her words resonated rather deeply with me. 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. Tony winner Ivo van Hove will also direct Mozart's Don Giovanni. The opera, which remains as timely as ever, is undoubtedly one of Verdis and the entire canons greatest. His Chi tha colpita? She made her debut at the Salzburg Festival in 2019, where she sang the role of Federica in a concert performance ofLuisa Miller. However, it included some glaring strange elements that were impossible to ignore. 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. But these emphatic tempi shifts stood out as unrefined for a number of reasons. stage director See also 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. Kevin Puts'. 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. Often times, she was very flexible and allowed the lines to bend and flow organically, but more often than not, those moments would be followed by shockingly fast tempi that threatened to derail the entire enterprise. 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. As the passage drew to its conclusion, he thundered on the final Ah no, follia, the voice vibrant and powerful on the high E. 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