Ah! Varduhi Abrahamyan makes her Met debut as Maddalena, and Andrea Mastroni is Sparafucile. Revivals of operatic warhorses like Verdi's Rigoletto can be hit or miss at an opera house the size of the Metropolitan Opera. Premieres Friday, June 17, 2022 at 9 p.m. on KPBS 2 / On demand with PBS Video App. Met Opera | April 15, 2023. Discovered and promoted by Valery Gergiev, she began her career at the Mariinsky Theatre, collaborating . The soloists were as good as you could hope for with this opera. 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 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. There are plenty of vocal thrills in Sir David McVicar's new production of Giordano's revenge thriller at the Metropolitan Opera. 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 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. 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. 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. PRODUCTION Bartlett Sher SET DESIGNER Michael Yeargan COSTUME DESIGNER Catherine Zuber LIGHTING DESIGNER Donald Holder Composer Mozart's Idomeneo. But then the turntable starts to move. Tony winner Ivo van Hove will also direct Mozart's Don Giovanni. But he's at his best in his scenes at home with Gilda, with a burnished legato and seemingly endless breath. Victorian Opera announces cast for The Who's Tommy. This video really should have had a fourth example, though. His most-recent work on Broadway includes Tootsie, Kiss Me Kate, and My Fair Lady. The answer was in this very guttural sound. His singing had rawness and pointedness, particularly as he poked fun at Ceprano and Monterone. Verdi doesnt waste a moment and every single note in the piece plays a crucial role in building its tension and tragedy. But the rest of the duet was gloriously sung, with the sopranos fuller sound matching baritone Quinn Kelseys powerful baritone. The Vienna State Opera's production of Rigoletto did its job, proving an appropriately grim staging for a very dark opera. The moment where this kind of tempo whiplash stood out more was right before Cortigiani, Rigolettos other big solo moment. 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 ensuing cabaletta Possente amor mi chiama presented the tenor with an opportunity to expand on the brightness and lush sound of his opening Questa o quella, and he fully delivered on that, projecting powerfully into the auditorium. 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. Once a seeming fixture with the company throughout the early 2000s, he stopped appearing after the 2016 season. Luiz Gazzola Opera Lively. 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. Too often, these are underrehearsed affairs, with unimaginative casting and uninspired direction. Maestro Daniele Rustioni leads Verdis timeless tragedy reset in 1920s Europe by Tony-winning director Bartlett Sher. American baritone Quinn Kelsey returns to the Met this season, making his company role debut in the title role of Rigoletto. The HD broadcasts are supported by Toll Brothers, America's luxury home builder. 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. 24, 2022 Karen Kamensek will conduct the May and June. Met Opera | December 17, 2022. Desperation took over with the subsequent phrases aggressive, accented, and frantic. At the close of the duet, his piano singing blended with Feolas almost as one with the cadenza, as noted, spot on through the several runs. Moreover, he started closing in on the other men around him, almost as if ready to strike them. Its an intimate passage and one of Verdis most radical (at the time). Visit Website. 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. Studio: The Metropolitan Opera. There was an aggressive nature to his opening scene, almost as if his Rigoletto were always on the defensive in this predatory world. SAS Performing Arts Concert Opera presents the only New York City performance of the Puccini work Il Trittico. He also holds a dual bachelors from Hofstra University in Film Production and Journalism. Classical Music Opera The Met: "Rigoletto" (Review) Feb. 8 and Feb. 19 at 8, Feb. 12 at 7:30, and Feb. 16 at 1: . And suddenly our attention shifts away from Rigolettos truly private and essential CHARACTER moment, to something else. 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. 29 des. A loud, unsubtle performance of a loud, unsubtle production the Met really deserves a new Aida. 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. Her costume designs are currently featured in the new Broadway production of Moulin Rouge!. The collection of #PBSForTheArts programs is available at pbs.org/arts and the PBS Video app. 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. Confusion, unless part of the thematic underpinning of the story, never makes for good storytelling. The Metropolitan Opera has announced a cast change for its spring run of "Rigoletto.". Quinn Kelsey, Benjamin Bernheim, Rosa Feola Shine Amidst Musical Chaos. And in this case, there is nothing confusing about the Act three trio, which is as straightforward as Rigoletto gets both musically and dramatically (there is nothing subtle about a murder performed with a ghostly choral accompaniment and underscored by an orchestral thunderstorm). 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. From her feverish rushing down the stairs to greet her father, you could sense a character full of energy and aspiration. 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. 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. Rigoletto at the Met, Spring Cast May 2, 2013. . You can always feel tenors getting ready for this big moment and then when it comes, they drag it out, which unfortunately undercuts everything else that makes this aria so emblematic of the Dukes character. During the quartet, Bella figlia dellamore, Bernheim delivered another display of glorious legato singing. 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. 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. 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. His particular interests include 20th century French violin sonatas and baroque opera, and he is currently pursuing his PhD in London, UK. Later this season, he will sing Wotan in Wagner's Das Rheingold at English National Opera, King Marke in Act III of Wagner's Tristan und Isolde in concert with the Deutsches Symphonie-Orchester Berlin, and Hunding in Wagner's Die Walkre in Naples. 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. With Varduhi Abrahamyan, Piotr Beczala, Rosa Feola, Quinn Kelsey. 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. 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. His entire duet with Rigoletto in Act one was fascinating, the bass digging into his thick and earthy tone with each phrase. 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. For further details on Rigoletto, including casting by date, please click here. In Act three, he retained this prickly vocal character, his low notes throughout the quartet dark and grainy, emphasizing Rigolettos resentment. Start Free 7-Day Trial Rent for $4.99 That was quickly contrasted in the ensuing scene as he roamed about the streets, delivering a hushed and pained Quel vecchio maledivami! The defensiveness of the opening scene continued throughout the conversation with Sparafucile, Kelsey initially reserved but slowly opened up his sound as he inquired about Sparafuciles methods. 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. This season, he begins his tenure as the principal guest conductor at the Bavarian State Opera. These PDFs do not include cast changes that occurred after the program went to print. Review: Amid Omicron, the Met Opera Opens a Weimar 'Rigoletto'. Ei sta sotto ai miei piedi! 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. 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. 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. 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." For up-to-date casting go back to the previous page. 23 des. Even when she rejected him, he continued searching for her, his repetition of the piangi melody even more lush than before. 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. Skylark Opera Theatre returns to stage this Spring with the regional premiere of Jake Heggie's Three Decembers. She is a more defiant Gilda than usual, bringing a wonderful darkness and surprising heft in the final act. 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. 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. 2022-23 Season 2023-24 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 Soprano Tamara Wilson portrays the virtuous duchess Elsa, falsely . She made her debut at the Salzburg Festival in 2019, where she sang the role of Federica in a concert performance ofLuisa Miller. Verdi: Rigoletto: Directed by Gary Halvorson. 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. 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. And so we come to the end. Sunday, March 18th, 1pm. If you are using Internet Explorer or other browsers you may encounter problems with certain sections of our website. You could feel the fear, the shame, the pain, and in one brief moment, the anger of what had happened to her. Russian mezzo-soprano Yulia Matochkina makes her Met debut as Maddalena. This original and thrilling production is led by Metropolitan Opera conductor Gregory Buchalter and directed . 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. The final duet was magnetic not only for Feolas interpretation but Kelseys pained pleas of Non morire, mio tesoro, pietade! 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. 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. 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. We are doing maintenance on the website until approximately 1 am ET Friday, February 10. The baritone Quinn . ****1 A fine showing for the 1884 Italian version of Don Carloat the Met Robert Levine, 9th November His Met repertory has also included Rodolfo in Luisa Miller and La Bohme, Vaudmont in the company premiere of Iolanta, Lenski in Eugene Onegin, the title role of Faust, Edgardo in Lucia di Lammermoor, the Chevalier des Grieux in Manon, Gustavo in Un Ballo in Maschera, and Maurizio in Adriana Lecouvreur. At the climactic La Maledizione he interpolated a high G flat and A flat, both delivered ferociously to end the night. Jen has worked at KPBS since 2000. The broadcast is part of season 16 of GREAT PERFORMANCES AT THE MET includes 10 new operas. On demand with PBS Video App of operatic warhorses like Verdi 's can. 2019, where she sang the role of Rigoletto Broadway production of Moulin Rouge! cast!, almost as if his Rigoletto were always on the website until approximately 1 am Friday. That parola scenica was inaudible will conduct the May and June his work... 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