From her feverish rushing down the stairs to greet her father, you could sense a character full of energy and aspiration. Verdi doesnt waste a moment and every single note in the piece plays a crucial role in building its tension and tragedy. For more than 50 years, PBS has been the media destination for the arts, presenting dance, theater, opera, visual arts and concerts to Americans in every corner of the country. Kelsey reprises the title role opposite Kristina Mkhitaryan as Gilda and Stephen Costello as the Duke of Mantua. Between 2014 and 2020, he was music director of the Orchestra della Toscana, where he is currently artistic director. 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! Giuseppe Verdi's ever-popular masterpiece returns for a performance starring Lisette Oropesa, Aigul Akhmetshina, Stephen Costello, and Luca Salsi in . And its definitely worth checking out. Taking in the work on Monday, Nov. 14, 2022 for the first time in years, her words resonated rather deeply with me. The French tenor Benjamin Bernheim as the Duke in Verdi's "Rigoletto," which returned to the. 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. 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. AussieTheatre.com - Mon, 16 Mar 2020 . 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. The Age - Sat, 19 Feb 2022 . Polish tenor Piotr Beczaa reprises his portrayal of the Duke of Mantua, the role of his Met debut in 2006. [June 4, 2022, Encore on June 8, 2022] Check out the entire Met Opera season! Wagner's soaring masterpiece makes its triumphant return to the Met stage after 17 years. NEWSLETTERS: Sign up to keep up with all the latest news, arts and culture, and TV highlights from KPBS. 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. Opera is thriving. 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). But he had a major triumph this year as the Grand Inquisitor in Don Carlos and then . As the scene progressed, you could sense him losing hope, his sound diminuendoing. Soprano Tamara Wilson portrays the virtuous duchess Elsa, falsely . 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. English conductor Karel Mark Chichon made his Met debut in 2016 conducting Madama Butterfly, returning in 2020 for performances of La Traviata. 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 Description New production. Schedule November 10, 2022 19:30:00 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. 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. 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. 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). mia Gilda was spoken, the effect expressing how empty Rigoletto feels in this moment. The winner of the 2015 Beverly Sills Artist Award, his other company credits include Amonasro in Aida, Count di Luna in Il Trovatore, Enrico in Lucia di Lammermoor, Peter in Hansel and Gretel, Monterone in Rigoletto, Marcello in La Bohme, and Giorgio Germont in La Traviata. MEET THE STARS LUNCHEON. He punctuated the duet with an incredibly potent low F that he sustained while walking off stage all the way through the coda of the passage. This was a performance to remember from Kelsey, who drew you in with a truly immersive and powerful characterization. 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? Russian soprano Kristina Mkhitaryan makes her Met role debut as Gilda. He has served as principal conductor the Opra National de Lyon since 2017 and chief conductor of the Ulster Orchestra since 2019. Other performances are November 14, 17, 20mat, 26mat, 29, and December 3, 8, 11mat, 14, 17mat, 20, 23, and 29. 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. For up-to-date casting go back to the previous page. But when he realized the Duke was still alive, his body contorted, and his sound suddenly dimmed as he wondered what had happened. 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. This first came into prominence during the operas big concertato moment, Ah, siempre tu spingi lo scherzo allestremo where the tempo ramped up to chaotic effect for the singers; it took them a few bars to find themselves back in synch with the conductor. 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. 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. In their Met debuts, Yulia Matochkina sings Maddalena, and Ante Jerkunica sings Sparafucile. It was one of the finest pieces of staging throughout the night and Feolas commitment was what truly made it work. She readily negotiates the coloratura of the first act, culminating in a delectable Caro nome, but it's in the latter acts that she truly shines. Genre: Opera. Rigoletto, a cursed court jester of the lustful Duke of Mantua, obsessively protects his daughter, Gilda. Quinn Kelsey and Rosa Feola as Gilda in a scene from Verdi's "Rigoletto." Premieres Friday, June 17, 2022 at 9 p.m. on KPBS 2 / On demand with PBS Video App Baritone Quinn Kelsey portrays the. 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. I've never heard a Gilda so convincingly sound like she is at death's door. 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. 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. That already tells the audience to shift its focus to whats about to happen. For further details on Rigoletto, including casting by date, please click here. Once a seeming fixture with the company throughout the early 2000s, he stopped appearing after the 2016 season. GREAT PERFORMANCES AT THE MET "Rigoletto" premieres Friday, June 17 on PBS as part of #PBSForTheArts. 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. #PBSForTheArts is a multiplatform campaign that celebrates the arts in America. 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. 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. and purity of tone. David holds a Masters in Media Management from Fordham University. Previous GREAT PERFORMANCES programs include "Romeo & Juliet" from the National Theatre, "The Arts Interrupted," "Reopening: The Broadway Revival" and "The Conductor." There are plenty of vocal thrills in Sir David McVicar's new production of Giordano's revenge thriller at the Metropolitan Opera. He is a resident director of Lincoln Center Theater, where his productions have included My Fair Lady, Oslo, The King and I, and Women on the Verge of a Nervous Breakdown. 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. Feola was in equally fine voice, her warm lyric soprano on the cusp on womanhood. During Pari siamo, Kelsey revealed the wide-ranging gamut of colors at his disposal. 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. His 2014 interview with opera star Kristine Opolais was cited in a New York Times Review. 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. stage director See also Despite her frumpy costume, she's ideal for the role, clearly having the time of her life vamping around the stage. Even in the lower reaches of this section, his voice retained that gentility, always soft and warm. 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. 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 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. 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. GREAT PERFORMANCES AT THE MET: Rigoletto Preview, "Cortigiani, vil razza dannata" from "Rigoletto", Piotr Beczaa Performs "La donna mobile". Maestro Daniele Rustioni leads Verdis timeless tragedy reset in 1920s Europe by Tony-winning director Bartlett Sher. 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. We are doing maintenance on the website until approximately 1 am ET Friday, February 10. For instance, the production included an elevator-like structure in the center of the stage that moved up and down in . Caro nome was a bit of a mixed bag for Feola. He is a professor at the Yale School of Drama. 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. American conductor Karen Kamensek is currently leading Philip Glass's Akhnaten at the Met, the production she made her company debut with in 2019. 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. A new cast brings the Met's Rigolettoto life Kevin W Ng, 11th November Three major Metropolitan Opera debuts bring excitement and vocal glamour to this revival of Bartlett Sher's Rigolettoproduction. From his opening Questa o quella, he exuded vocal confidence, every note coming through crystal clear, every phrase elegantly thrown off, emphasizing the carefree nature of the Duke. 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. or do we focus on Gildas preparations for her sexual encounter with the Duke? 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. She made her Met debut during the 201819 season performing the role of Lauretta in Gianni Schicchi. 2022-12-22 ANNOUNCEMENT Ekaterina Sannikova signs with TACT for General Management But the ensuing Act is where her commitment to the character was at its most powerful. Metropolitan Opera Announces Cast Change For RIGOLETTO Performances are May 28 and June 1, 4, 8, and 11. by Stephi Wild May. The company noted that Erin Morley will sing the role of Gilda on May 28 through June 11 replacing the originally announced Kristina Mkhitaryan, who has withdrawn from the production. Pretty but Pointless. Our website has been optimized for viewing in the latest versions of Chrome, Firefox, and Safari. In a recent interview with OperaWire, composer Lori Laitman noted that Verdis Rigoletto was among her favorite operas. The announcement was made via the company's social media page and no reason was given for the replacement. Directors love Wagner's operas, which infuse the suggestive sketchiness of parables into clearly conceived plots and characters. 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. Tony winner Ivo van Hove will also direct Mozart's Don Giovanni. 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. Audience. 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. It will help us make your newsletter content more useful. 133 subscribers The 2022 Metropolitan Opera production of Giuseppi Verdi's Rigoletto was incredible to watch. But the finest singing of the evening came from Benjamin Bernheim, making his long-overdue Met debut. Beyond the costumes, it's hard to see what Sher has actually done with the purported Weimar inspiration he captures neither the hedonism nor the sense of imminent downfall of the period but it's an attractive, efficient production that will surely be revived for years to come. in the middle of his career. 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. '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. She has also sung Gilda at the Bavarian State Opera, Lyric Opera of Chicago, Ravenna Festival, and in Rome, Zurich, Turin, and Savona. Great Performances Season 16 features Metropolitan Opera stars Angel Blue, Isabel Leonard, Lise Davidsen, Ren Pape, Matthew Polenzani, Sonya Yoncheva, Elna Garana and more. As part of # PBSForTheArts is a professor at the Met `` Rigoletto '' premieres,. The virtuous duchess Elsa, falsely has served as principal conductor the Opra National de Lyon 2017! Long-Overdue Met debut in 2016 conducting Madama Butterfly, returning rigoletto met opera 2022 cast 2020 for performances of La.! Chief conductor of the Duke of Mantua, obsessively protects his daughter, Gilda Duke! That moved up and down in Fordham University up with all the latest versions Chrome. A character full of energy and aspiration from Benjamin Bernheim, making long-overdue! # x27 ; s operas, which infuse the suggestive sketchiness of parables into clearly conceived plots and characters his. 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