The French tenor Benjamin Bernheim as the Duke in Verdi's "Rigoletto," which returned to the. Its handsome sets and costumes drew an appreciative gasp from the audience, and the revolving set kept the action moving smoothly. 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. In Act three, the tenor took things up a notch, delivering a spotless rendition of La Donna mobile, each note of the dotted rhythm clear and articulated with vibrant sound. He also holds a dual bachelors from Hofstra University in Film Production and Journalism. Cast: Quinn Kelsey - Rigoletto Rosa Feola - Gilda Piotr Beczala - Duke of Mantua Craig Colclough - Monterone Varduhi Abrahamyan - Maddalena Andrea Mastroni - Sparafucile Scott Sully - Borsa. 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. Nov 17, 2022 Metropolitan Opera 2022-23 Review: Rigoletto Quinn Kelsey, Benjamin Bernheim, Rosa Feola Shine Amidst Musical Chaos By David Salazar (Credit: Curtis Brown) In a recent interview with OperaWire, composer Lori Laitman noted that Verdi's " Rigoletto " was among her favorite operas. 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. That already tells the audience to shift its focus to whats about to happen. 24, 2022 Karen Kamensek will conduct the May and June. 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. Visit 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. 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. He remarks how both men are similarly toxic, a comparison that the opera continually draws between all the male characters as the story develops. 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. Anna Yuryevna Netrebko (Russian: ; born 18 September 1971) is a Russian and Austrian operatic soprano with an active international career and performed prominently at the Salzburg Festival, Metropolitan Opera, Vienna State Opera, and The Royal Opera.. 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. Varduhi Abrahamyan plays Maddalena and Andrea Mastroni plays Sparafucile. The collection of #PBSForTheArts programs is available at pbs.org/arts and the PBS Video app. Review: Amid Omicron, the Met Opera Opens a Weimar 'Rigoletto'. Videos. Arizona Operas programming includes something for everyone, from tried-and-true opera lovers to school-aged children and everyone in between. 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. She is directing the pace and motion of the drama to what she feels is most appropriate. 23 des. camera operator Music Department Additional Crew Bartlett Sher . On Dec. 31, the Metropolitan Opera opened a new production of "Rigoletto." It was the first time since 2013 that the company was showcasing a new staging of Verdi's masterpiece and it was a departure from the Las Vegas set. English conductor Karel Mark Chichon made his Met debut in 2016 conducting Madama Butterfly, returning in 2020 for performances of La Traviata. 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. And, because of how extreme these tempi were, a lot of the rich orchestral details felt underplayed or ignored. Karel Mark Chichon conducts. His Chi tha colpita? 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. [June 4, 2022, Encore on June 8, 2022] Check out the entire Met Opera season! adesso non ridete? was heavily accented, allowing Kelsey to really express Rigolettos fury. Elsewhere this season, he sings Sarastro at the Vienna State Opera. Varduhi Abrahamyan makes her Met debut as Maddalena, and Andrea Mastroni is Sparafucile. 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 . 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. New York, NY (February 23, 2022)The Metropolitan Opera today announced its 2022-23 season, which features seven new productions, the most in ten seasons.Opening Night is September 27 with the company premiere of Cherubini's Medea, starring soprano Sondra Radvanovsky in the title role alongside tenor Matthew Polenzani in David McVicar's new staging, conducted by Carlo Rizzi. 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. Genre: Opera. He has been nominated for 13 Tony Awardswinning in 2008 for South Pacific and 1998 for The Lion Kingin a career featuring more than 50 productions on Broadway. The La r, la r, la r started off aggressive, the baritone placing forceful accents throughout. 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. In the Duke's court he is appropriately terrifying, spitting words out with a cynical sneer. Quinn Kelsey and Rosa Feola lead a superb cast in Bartlett Sher's new staging of Verdi's classic drama. Skylark Opera Theatre returns to stage this Spring with the regional premiere of Jake Heggie's Three Decembers. Instead, Feolas has greater weight and heft, especially in the middle range where she has brightness but also potency that cuts through. If you are using Internet Explorer or other browsers you may encounter problems with certain sections of our website. A loud, unsubtle performance of a loud, unsubtle production the Met really deserves a new Aida. The most egregious circumstance however was a more subtle one. Yet, somehow, Andante mosso agitato was decidedly faster than the Allegro Vivo. Keep up with all the latest news, arts and culture, and TV highlights from KPBS. His role in Italys cultural and political development has made him an icon in his native country. 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. In Act three, he retained this prickly vocal character, his low notes throughout the quartet dark and grainy, emphasizing Rigolettos resentment. A second run of performances in the spring features baritone Ludovic Tezier, soprano Kristina Mkhitaryan, and tenor Stephen Costello, conducted by Karel Mark Chichon. She recently made her debut at Covent Garden as Micala in Carmen. She is a more defiant Gilda than usual, bringing a wonderful darkness and surprising heft in the final act. 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. Production a gift of C. Graham Berwind, III Director, Spring Point Partners, LLC; Gramma Fisher Foundation, Marshalltown, Iowa; and Mr. and Mrs. Paul Montrone. The Metropolitan Opera. Giuseppe Verdi's ever-popular masterpiece returns for a performance starring Lisette Oropesa, Aigul Akhmetshina, Stephen Costello, and Luca Salsi in . David Frost is music producer and Peter Gelb is executive producer. There was an aggressive nature to his opening scene, almost as if his Rigoletto were always on the defensive in this predatory world. 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. He has appeared at many of the worlds leading opera houses and festivals, including Deutsche Oper Berlin, the Vienna State Opera, Lyric Opera of Chicago, San Francisco Opera, Washington National Opera, and the Salzburg Festival. 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. Despite serious initial problems, the opera had a triumphant . But when he commenced Deh, non parlare al misero, his voice took on a honeyed hue full of yearning. His first Gilda! 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. She has designed for opera houses around the world, including English National Opera, Washington National Opera, San Francisco Opera, and the Salzburg Festival. 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. in the middle of his career. The aforementioned Possente creates some major visual dissonance for the audience do we focus on the tenor singing the aria? Mezzo-soprano Isabel Leonard hosts. She has conducted Verdi's Rigoletto at the Hamburg State Opera, Theater Freiburg, and Malm Opera. 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. Nicholas Carter makes his Met debut conducting a remarkable ensemble, which also features soprano Brenda Rae as Ophelia, mezzo-soprano Sarah Connolly as Gertrude, baritone Rod Gilfry as Claudius, and legendary bass John Tomlinson as the ghost of Hamlet's father. Later this season, he sings Lenski in Eugene Onegin at the Met. Opera is thriving. You could feel the fear, the shame, the pain, and in one brief moment, the anger of what had happened to her. Home Performances Rigoletto. Francesco Maria Piave (1810-76), Verdi's librettist for Rigoletto, collaborated with him on ten works, including Ernani, La Traviata, La Forza del Destino, and the original versions of Macbethand Simon Boccanegra. SAS Performing Arts Concert Opera presents the only New York City performance of the Puccini work Il Trittico. 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. Armenian mezzo-soprano Varduhi Abrahamyan makes her Met debut as Maddalena. 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 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. On first listen, Feolas voice is not what has become the typical Gilda voice a light coloratura voice with extreme highs. 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. American rags, riches and everything in between. 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. 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. 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. In January 2020, she performed recitals at New York Citys Park Avenue Armory and the Kennedy Center. #PBSForTheArts is a multiplatform campaign that celebrates the arts in America. Maestro Daniele Rustioni leads Verdis timeless tragedy reset in 1920s Europe by Tony-winning director Bartlett Sher. Ei sta sotto ai miei piedi! Rigoletto | Opera | Voorstellingen, schema en kaartjes | Gran Teatre del Liceu | Bekijk meer informatie op Operabase This season at the Met, she also sings Olga in Eugene Onegin. His particular interests include 20th century French violin sonatas and baroque opera, and he is currently pursuing his PhD in London, UK. 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 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. Opera Met Opera's 2022-2023 Season Includes Rene Fleming and Kelli O'Hara in The Hours, Terence Blanchard's Champion, More. GREAT PERFORMANCES AT THE MET "Rigoletto" premieres Friday, June 17 on PBS as part of #PBSForTheArts. Great Performances Season 16 features Metropolitan Opera stars Angel Blue, Isabel Leonard, Lise Davidsen, Ren Pape, Matthew Polenzani, Sonya Yoncheva, Elna Garana and more. 29 des. 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. 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. A Verdi favorite, Rigoletto is set in the rich and decadent Italian Renaissance and features some of opera's most famous arias! 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. It provided a seamless transition into the Piangi, with Kelsey crescendoing from the C natural into the ensuing D flat. 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. And then there was Quinn Kelsey. 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. Bartlett Sher's Weimar-inspired production premiered less than a year ago, and is eminently revivable. 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. 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. . This was a performance to remember from Kelsey, who drew you in with a truly immersive and powerful characterization. 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