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. 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. But hes here now and he was definitely worth the wait. 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. Quinn Kelsey, Benjamin Bernheim, Rosa Feola Shine Amidst Musical Chaos. Elsewhere this season, he sings Sarastro at the Vienna State Opera. Wagner's soaring masterpiece makes its triumphant return to the Met stage after 17 years. 20 des. Ella mi fu rapita is the tenors big moment, not only vocally, but also dramatically, allowing for a moment of potential contrast and depth. 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. Russian mezzo-soprano Yulia Matochkina makes her Met debut as Maddalena. Later this season, he sings Lenski in Eugene Onegin at the Met. PRODUCTION Bartlett Sher SET DESIGNER Michael Yeargan COSTUME DESIGNER Catherine Zuber LIGHTING DESIGNER Donald Holder Composer This video really should have had a fourth example, though. For more information, visit metopera.org. With Varduhi Abrahamyan, Piotr Beczala, Rosa Feola, Quinn Kelsey. 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. Moreover, he started closing in on the other men around him, almost as if ready to strike them. And while that is true, the turntable also becomes a distraction here at some key dramatic moments. Cast: Quinn Kelsey - Rigoletto Rosa Feola - Gilda Piotr Beczala - Duke of Mantua Craig Colclough - Monterone Varduhi Abrahamyan - Maddalena Andrea Mastroni - Sparafucile Scott Sully - Borsa. Met Opera | April 15, 2023. Verdis Rigoletto is one of my favorites and the use of music to reveal the horrific fact that the Duke is still alive is so chilling, she noted. 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. His recent Verdi roles elsewhere include Miller in Luisa Miller at Lyric Opera of Chicago, Ford in Falstaff at the Dallas Opera, and Rigoletto in Zurich. Lisette has given 68 performances as Gilda. And its definitely worth checking out. Confusion, unless part of the thematic underpinning of the story, never makes for good storytelling. Gothic horror, magic and romance at the 2023 Savonlinna Opera Festival, At the helm of the world's most expensive opera house: Met General Manager Peter Gelb, From our French editor: ode to the diehards, Guilty pleasures: Yoncheva and Beczaa star in a new. 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. 2022 | 19:00 Rigoletto, Verdi, The Metropolitan Opera | New York City, United States ti. 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. Rigoletto opens on November 10, with Rosa Feola and Lisette Oropesa sharing the role of Gilda, Aigul Akhmetshina as Maddalena, Benjamin Bernheim and Stephen Costello as the Duke of Mantua, and Quinn Kelsey, Michael Chioldi, and Luca Salsi as Rigoletto. Description New production. Discovered and promoted by Valery Gergiev, she began her career at the Mariinsky Theatre, collaborating . 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. In the context of the opera, the merely lovely music becomes inspired drama. Rigoletto | Opera | Voorstellingen, schema en kaartjes | Gran Teatre del Liceu | Bekijk meer informatie op Operabase English conductor Karel Mark Chichon made his Met debut in 2016 conducting Madama Butterfly, returning in 2020 for performances of La Traviata. 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. Rigoletto (Verdi) The Abduction from the Seraglio (Mozart) The Merry Wives of Windsor (Nicolai) La bohme (Puccini) 1993-1994 Season. Its handsome sets and costumes drew an appreciative gasp from the audience, and the revolving set kept the action moving smoothly. This season, he begins his tenure as the principal guest conductor at the Bavarian State Opera. In the role of Sparafucile, Relyea continued his revival with the company. Revivals of operatic warhorses like Verdi's Rigoletto can be hit or miss at an opera house the size of the Metropolitan Opera. Metropolitan Opera House, . Opera is thriving. 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. Speranza Scappucci conducts Bartlett Sher's production. Ei sta sotto ai miei piedi! Met Opera | December 17, 2022. As her brother Sparafucile, John Relyea was appropriately menacing, sliding in and out of the shadows despite his massive frame. 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. 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. Schedule November 10, 2022 19:30:00 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! Runtime: 210 min. 24, 2022 Karen Kamensek will conduct the May and June. And when she exited the Dukes room, she moved about the space slowly, her eyes downcast, searching for a place to be alone. In the role of the Duca di Mantua was tenor Benjamin Bernheim, who was supposed to debut at the Met a few years back, but had to wait thanks to COVID-19. 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. 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. and the castwhich includes eljko Lui, Diana Damrau, Piotr Beczala . The answer was in this very guttural sound. But the ensuing Act is where her commitment to the character was at its most powerful. Italian bass Andrea Mastroni reprises his portrayal of Sparafucile, a role he has previously sung at the Met in 2017 and La Scala. 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. 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. Though her voice is not especially large it carries nicely, especially her plummy chest voice. His Cortigiani is utterly overwhelming, the emotional anchor of the entire work. 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. This was most noticeable during her opening duet with the high B flat triplet sixteenth notes (non pi, vi calmate) and especially during the repeat of Ah, veglia, donna, queto fiore where her vocal line accompanies the baritone melody with leaps up and down the register; in this latter section, the ascents to the high Cs sounded timid and overly careful, lacking in clarity or brightness. 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. During his time at Fordham, he studied abroad at the Jagiellonian University in Poland. 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. And considering that this is an opera that has been done time and again, it was refreshing to hear her test the limits of what this music could do. This conversation features leaders of the Dallas Symphony, including Ross . and purity of tone. [June 4, 2022, Encore on June 8, 2022] Check out the entire Met Opera season! But Pari siamo also allows us to see the purity and hope inside of Rigolettos heart, the possibility of him separating himself from the pack of predators. Rigoletto is in three acts to an Italian libretto by Francesco Maria Piave based on the 1832 play Le roi s'amuse by Victor Hugo. Kelsey is impressive in the title role, his hulking, muscular baritone dominating the stage. There were other moments, where the textures simply didnt cohere. Even in the lower reaches of this section, his voice retained that gentility, always soft and warm. Anthony Tommasini is the chief classical music critic. ) right before the final duet was almost howled, its effect spine-chilling. 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. 31 Dec 2021 - 11 Jun 2022. These PDFs do not include cast changes that occurred after the program went to print. Yet, somehow, Andante mosso agitato was decidedly faster than the Allegro Vivo. Cast: Joseph Paur,Frank Gerrish,Ivey Lloyd . She has designed for opera houses around the world, including English National Opera, Washington National Opera, San Francisco Opera, and the Salzburg Festival. The Metropolitan Opera. On the repeat of the melody, she spun a similarly delicate legato line, her high B flats fluid and sparkling. Is it possible to have a minor success on every level? It took but a moment before she was rushing away down the stairs. 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. Also this season at the Met, he conducts performances of Le Nozze di Figaro in January. Other appearances include Sibel in Faust at Covent Garden, Bradamante in Alcina in Zurich, and Malcolm in La Donna del Lago at Pesaros Rossini Opera Festival. The arias tempo marking is Andante mosso agitato while the preceding tempo indication is a faster one Allegro vivo. 23 des. She played up her flirtation with the Duke throughout the quartet and then provided assertiveness throughout the trio. Kevin Puts'. 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. His 2014 interview with opera star Kristine Opolais was cited in a New York Times Review. The broadcast is part of season 16 of GREAT PERFORMANCES AT THE MET includes 10 new operas. That already tells the audience to shift its focus to whats about to happen. When the Page arrives, he recovered his strength, his voice growing metallic and accented, almost speaking some of the notes. For its first staging of the opera in 17 years, the Met assembled a superb cast which combined with the Metropolitan Opera Chorus and Orchestra under the baton of Yannick . 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). In the final Act, Feola drove the quartet dramatically. Italian conductor Daniele Rustioni returns to the Met after previously conducting Aida in 2017. 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). 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. But he's at his best in his scenes at home with Gilda, with a burnished legato and seemingly endless breath. But at the very least its coherent narratively. 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 . We appreciate your patience. She brought a seemingly endless supply of energy to the evening, with swift tempi and impressively monolithic brass. During the quartet, Bella figlia dellamore, Bernheim delivered another display of glorious legato singing. Studio: The Metropolitan Opera. As he shouted out Addio from behind a closed door, Feolas Gilda shifted from tentative and nervous to sprightly and excited. His entire duet with Rigoletto in Act one was fascinating, the bass digging into his thick and earthy tone with each phrase. 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