During his time at Fordham, he studied abroad at the Jagiellonian University in Poland. 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 second run of Bartlett Sher's new production of Verdi's Rigoletto stars baritone Quinn Kelsey in the title role, soprano Erin Morley as Gilda, mezzo-soprano Yulia Matochkina as Maddalena, tenor Stephen Costello as the Duke of Mantua, and bass Ante Jerkunica as Sparafucile. He is a professor at the Yale School of Drama. But when he commenced Deh, non parlare al misero, his voice took on a honeyed hue full of yearning. SAS Performing Arts Concert Opera presents the only New York City performance of the Puccini work Il Trittico. When Giovanna opened the door for her, she rushed out with tremendous excitement and you could feel the relief as she stepped outside into freedom, her arms spread wide to receive it; it was a truly visceral moment to behold. 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. As Maddalena, Mezzo-soprano Aigul Akhmetshina displayed a plush and punchy sound that matched perfectly with bass John Relyea throughout the trio. Rigoletto Worldwide Broadcasts in Cinema, Radio, and Online. The opening lines of the duet were sung with utmost delicacy, the soprano slowly building up to the high A on daglocchi il cor, the high note suddenly full of rage and anger, before the line diminuendoed to a tearful resolution. Quinn Kelsey (Rigoletto), Rosa Feola as Gilda), Ensemble Andrea Mastroni (Sparafucile), Varduhi Abrahamyan (Maddalena) Andrea Mastroni (Sparafucile), Varduhi Abrahamyan (Maddalena), Piotr Beczaa (Duke of Mantua), Rosa Feola (Gilda), Quinn Kelsey (Rigoletto) Quinn Kelsey (Rigoletto), Rosa Feola (Gilda) Performance reviews Rigoletto 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. American rags, riches and everything in between. As Gilda, Rosa Feola had a solid night overall. Performance History. She slowly crept up those stairs, the trepidation apparent, and glimpsed inside. Bartlett Sher previously staged Rigoletto in Berlin in June 2019 and October 2019. Other performances are November 14, 17, 20mat, 26mat, 29, and December 3, 8, 11mat, 14, 17mat, 20, 23, and 29. Victor Hugos 1832 play Le Roi sAmuse, set at the court of King Franois I of France (circa 1520), is a blatant depiction of depraved authority. The collection of #PBSForTheArts programs is available at pbs.org/arts and the PBS Video app. 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. They met in 1979 in Rabe's home town of Vancouver, married five years . But hes here now and he was definitely worth the wait. A new 'guide' can help. But when he realized the Duke was still alive, his body contorted, and his sound suddenly dimmed as he wondered what had happened. If you are using Internet Explorer or other browsers you may encounter problems with certain sections of our website. Grinnell College will stream "Rigoletto" on Jan. 29 as part of the Met's 2021-22 Live in HD season. Rigoletto returns in the spring for five performances May 28June 11, 2022. For the Met: Mia Bongiovanni is supervising producer and Louisa Briccetti and Victoria Warivonchik are producers. The mezzo-soprano Aigul Akhmetshina is making her debut in the role of Maddalena. This season at the Met, she also sings Olga in Eugene Onegin. The Age - Thu, 31 Oct 2019 . 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. 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. Giuseppe Verdi's ever-popular masterpiece returns for a performance starring Lisette Oropesa, Aigul Akhmetshina, Stephen Costello, and Luca Salsi in . Returning from the premiere cast were Quinn Kelsey and Rosa Feola as Rigoletto and Gilda. It gave off the aria less of a playful feel and emphasized the romantic longing of Gilda. Curated conversation and digital shorts are also available on PBS social media platforms using #PBSForTheArts. 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? Opera Met Opera's 2022-2023 Season Includes Rene Fleming and Kelli O'Hara in The Hours, Terence Blanchard's Champion, More. He capped off this incredible performance with a lengthy pause, which added tremendous emotional suspense to the moments following Gildas death. The Metropolitan Opera: Rigoletto (2022) movie cast and actor biographies. 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 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. 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. 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. 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." 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. In their Met debuts, Yulia Matochkina sings Maddalena, and Ante Jerkunica sings Sparafucile. 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. Despite some strange costuming, she did her utmost to provide intricate characterization and development. 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?) 23 des. 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. Mozart's Idomeneo. Feola was in equally fine voice, her warm lyric soprano on the cusp on womanhood. 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. And when she exited the Dukes room, she moved about the space slowly, her eyes downcast, searching for a place to be alone. 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. {{::date | momentFormat:'D'}}{{$last ? '' Director: Leo Paur. 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. Kevin is a violinist and violist, and regularly performs as a soloist, chamber musician, and as an orchestral player. Her vocal approach to the role was perfectly aligned to her characterization. Please check if you entered the email address correctly. Our website has been optimized for viewing in the latest versions of Chrome, Firefox, and Safari. Karel Mark Chichon conducts. 2022 | 19:00 Rigoletto, Verdi, The Metropolitan Opera | New York City, United States ti. During the quartet, Bella figlia dellamore, Bernheim delivered another display of glorious legato singing. Description New production. Russian soprano Kristina Mkhitaryan makes her Met role debut as Gilda. From there his voice grew even more tender, each ensuing phrase a caress as he reached out toward his hurting daughter. The moment where this kind of tempo whiplash stood out more was right before Cortigiani, Rigolettos other big solo moment. 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!. After opening with hushed pianissimo on the opening line, his voice exploded with intensity and desperation before resorting back to another soft repetition of Quel vecchio maledivami! Bitterness ensued during O rabbia! The opera will mark Morley's return to the Met following her . Despite serious initial problems, the opera had a triumphant . Of course, Scappucci has license to interpret those tempo indications as she sees fit. For GREAT PERFORMANCES: Bill ODonnell is series producer; David Horn is executive producer. This next section, which also climaxes with a triplet sixteen run to a high A, was even more intense in its anguish, allowing her to end it on a aptly harsher vocalization for pi crudel. The rest of the duet was equally magical with Feolas softer singing matching Kelseys glorious piano sound, but the way she phrased these opening bars was so powerful in not only the emotional weight they carry in the dramatic moment, but in the care and precision with which Feola delivered them and the resulting emotional impact they produced. Right before the duet with the Duke, Feola delivered a glorious piano to forte crescendo on Tamo before being cut off as the duet proper got underway. However, things started getting a bit off during the dolce sixth leaps on a te and the ensuing sixteenth note runs; the soprano sounded stretched and there was even a moment where she went a bit flat in the runs. 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 collection of #PBSForTheArts programs is available at pbs.org/arts , PBS.org, and the PBS Video App, available on iOS, Android, Roku streaming devices, Apple TV, Android TV, Amazon Fire TV, Samsung Smart TV, Chromecast and VIZIO. 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. John Relyea will make his Met role debut as Sparafucile in Verdi's Rigoletto, replacing Andrea Mastroni. There was an aggressive nature to his opening scene, almost as if his Rigoletto were always on the defensive in this predatory world. Giuseppe Verdi's Rigoletto December 31, 2021 January 4, 7, 11, 15e, 19, 22e, 25, & 29m, 2022 May 28e, 2022 June 1, 4e, 8, & 11e, 2022 Creative Team Production: Bartlett Sher Scenic Designer: Michael Yeargan Costume Designer: Catherine Zuber Lighting Designer: Donald Holder Cast Conductor: Daniele Rustioni / Karen Kamensek And then there was Quinn Kelsey. In adapting it, Verdi and Piave fought with the Italian censors and eventually settled on moving the story to the non-royal Renaissance court of Mantua, while holding firm on the core issues of the drama. 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. Skylark Opera Theatre returns to stage this Spring with the regional premiere of Jake Heggie's Three Decembers. camera operator Music Department Additional Crew Bartlett Sher . 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. But the ensuing Act is where her commitment to the character was at its most powerful. 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. And then, with the arrival of the woodwinds, he returned with a tender piano line, almost whispering parlato, his repetition of Quel vecchio maledivami! his softest yet. During Pari siamo, Kelsey revealed the wide-ranging gamut of colors at his disposal. 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. Performances are May 28 and June 1, 4, 8, and 11. The baritone Quinn . Italian conductor Daniele Rustioni returns to the Met after previously conducting Aida in 2017. The strength of the cast extended all the way to the smaller roles, with Bradley Garvin, terrifying and commanding as Monterone, and Brittany Renee, displaying a megawatt charisma as Countess Ceprano, as the standouts. 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. She has conducted Verdi's Rigoletto at the Hamburg State Opera, Theater Freiburg, and Malm Opera. On first listen, Feolas voice is not what has become the typical Gilda voice a light coloratura voice with extreme highs. The Met: Live in HD is supported by Rolex. You could feel the fear, the shame, the pain, and in one brief moment, the anger of what had happened to her. 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. For more information, visit metopera.org. Karen Kamensek will conduct the May and June performances of Verdi's Rigoletto, replacing Karel Mark Chichon. The Act three trio was a mess of sounds without any real grounding and during the final duet, Lass in ciel, the violin syncopations were so accented as to sound plodding and heavy that they didnt fit into the general soundscape of the moment, even disrupting it. Karel Mark Chichon conducts. Runtime: 210 min. 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. Opera in the Park; Don Giovanni (Mozart) . . In their Met debuts, Yulia Matochkina sings Maddalena, and Ante Jerkunica sings Sparafucile. Elsewhere this season, he sings Sarastro at the Vienna State Opera. Studio: The Metropolitan Opera. 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. Opera splits things up a little differently, so a mezzo is basically in the soprano 2/alto 1 range, while a contralto is an choral alto 2. This video really should have had a fourth example, though. Confusion, unless part of the thematic underpinning of the story, never makes for good storytelling. This original and thrilling production is led by Metropolitan Opera conductor Gregory Buchalter and directed . Revivals of operatic warhorses like Verdi's Rigoletto can be hit or miss at an opera house the size of the Metropolitan Opera. adesso non ridete? was heavily accented, allowing Kelsey to really express Rigolettos fury. 2022-12-22 ANNOUNCEMENT Ekaterina Sannikova signs with TACT for General Management 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. In the final Act, Feola drove the quartet dramatically. 20 des. These PDFs do not include cast changes that occurred after the program went to print. 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. Rigoletto | Opera | Voorstellingen, schema en kaartjes | Gran Teatre del Liceu | Bekijk meer informatie op Operabase 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 singers, who were all on their A-game, often sounded a bit uncomfortable. Its handsome sets and costumes drew an appreciative gasp from the audience, and the revolving set kept the action moving smoothly. 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. 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. Rigoletto Ken Howard / Met Opera For the first time since the mid-1970s the Metropolitan Opera is performing into June after recently establishing an annual month-long hiatus during the. 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. 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. The explosion of sound on Tamo; ripetilo s caro accento built on Feolas previous crescendo on her own Tamo, ramping up the energy of the moment. With his big shoulders, big jaw, and his great, shiny Half Dome of a head, Kelsey gives Rigoletto immense presence even before he opens his mouth. The broadcast is part of season 16 of GREAT PERFORMANCES AT THE MET includes 10 new operas. Her body was full of fear and confusion as she ran about the turning table, women racing after her to undress her. As with il sol dellanima, the arched phrases of Bell figlia were elegantly shaped, the crescendoes subtle but present before melting into diminuendoes on the falling notes. Where this kind of tempo whiplash stood out more was right before,..., which added tremendous emotional suspense to the role was perfectly aligned to her characterization Rigoletto and Gilda City United! The quartet dramatically returning from the premiere cast were Quinn Kelsey and Rosa Feola as Rigoletto and Gilda State! 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