The opera, which remains as timely as ever, is undoubtedly one of Verdis and the entire canons greatest. She is currently a studio artist at Moscows Bolshoi Theatre, which she joined after singing at the Galina Vishnevskaya Theatre Studio. His singing had rawness and pointedness, particularly as he poked fun at Ceprano and Monterone. However, it included some glaring strange elements that were impossible to ignore. 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. During Pari siamo, Kelsey revealed the wide-ranging gamut of colors at his disposal. SAS Performing Arts Concert Opera Presents Puccini's IL TRITTICO, Arizona Opera Announces Its 2023/24 Season Line-up, THE ARTWORK OF THE FUTURE World Premiere Opera To Run At Fresh Squeezed Opera, May 13-19. The Met rings in the new year with the gala premiere of a bold new take on Verdi's timeless tragedy from Bartlett Sher. Benjamin Bernheim filled the auditorium with a sound that was powerful, beautiful and intelligent. 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). 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. 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. Ah! AussieTheatre.com - Mon, 16 Mar 2020 . 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. For GREAT PERFORMANCES: Bill ODonnell is series producer; David Horn is executive producer. Presiding over the evening was Speranza Scappucci, also making an overdue debut. They met in 1979 in Rabe's home town of Vancouver, married five years . 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). Karen Kamensek will conduct the May and June performances of Verdi's Rigoletto, replacing Karel Mark Chichon. 3 hr 10 minNR Jan 29, 2022 Opera Cast & Crew Piotr BeczalaActor Quinn KelseyActor Rosa FeolaActor Ludovic TezierActor Stephen CostelloActor Daniele RustioniActor When he does, out comes a richly human creature . As her brother Sparafucile, John Relyea was appropriately menacing, sliding in and out of the shadows despite his massive frame. The Met: Live in HD is supported by Rolex. 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. Rigoletto (Verdi) The Abduction from the Seraglio (Mozart) The Merry Wives of Windsor (Nicolai) La bohme (Puccini) 1993-1994 Season. From there his voice grew even more tender, each ensuing phrase a caress as he reached out toward his hurting daughter. As he shouted out Addio from behind a closed door, Feolas Gilda shifted from tentative and nervous to sprightly and excited. Varduhi Abrahamyan plays Maddalena and Andrea Mastroni plays Sparafucile. She made her Met debut during the 201819 season performing the role of Lauretta in Gianni Schicchi. 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. He made his Met debut in 1993 with Elijah Moshinskys production of Ariadne auf Naxos, which also returns this 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. In the final scene of the opera, he stood erect and resolute as he prepared to take the Dukes body, his voice growing and growing as he proclaimed Quest un buffone, ed un potente questo! 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. and purity of tone. Italian conductor Daniele Rustioni returns to the Met after previously conducting Aida in 2017. Rigoletto returns in the spring for five performances May 28June 11, 2022. Even when they struggled with the tempo at the start of Addio addio, they barely missed a step, finding one another and surging forward. In Act two, he arrived on the scene like a man on a mission, his head on a swivel, his body frantic as it searched for his missing Gilda. 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. This was a performance to remember from Kelsey, who drew you in with a truly immersive and powerful characterization. But when he commenced Deh, non parlare al misero, his voice took on a honeyed hue full of yearning. More information is available on the official website of the opera house. 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. 17 des. 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. Samson et Dalila (Saint-Sans) Tosca (Puccini) The Elixir of Love (Donizetti) The arias tempo marking is Andante mosso agitato while the preceding tempo indication is a faster one Allegro vivo. 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. In their Met debuts, Yulia Matochkina sings Maddalena, and Ante Jerkunica sings Sparafucile. Instead, Feolas has greater weight and heft, especially in the middle range where she has brightness but also potency that cuts through. During the quartet, Bella figlia dellamore, Bernheim delivered another display of glorious legato singing. 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. Rigoletto is the ninth opera Bartlett Sher has directed at the Met. In the Mets production, the action unfolds in Weimar Germany in the 1920s, a time and place with surprising parallels to the decadentand dangerousworld of the original setting. New York, NY (December 23, 2021)The Metropolitan Opera rings in the new year with a new production of Verdis Rigoletto on December 31, with an additional eight performances January 4January 29, 2022. Speranza Scappucci conducts Bartlett Sher's production. It was one of the finest pieces of staging throughout the night and Feolas commitment was what truly made it work. It all started even a few bars earlier with a honeyed rendition of Ogni saggezza chiudesi nel gaudio e nellamore, Bernheim bringing managing a spellbinding diminuendo up the F sharp in the second half of the phrase. She recently made her debut at Covent Garden as Micala in Carmen. and bright color palettes that have served him best in Rossini comedies at the Met are also on display. Its virtually been in and out of the stage throughout the years, but I stopped attending it over the past few years (I hadnt seen the opera at the Met since before the launch of OperaWire in late 2016). Description New production. Met Opera | April 22, 2023 . Maestro Daniele Rustioni leads Verdis timeless tragedy reset in 1920s Europe by Tony-winning director Bartlett Sher. For up-to-date casting go back to the previous page. She has conducted Verdi's Rigoletto at the Hamburg State Opera, Theater Freiburg, and Malm Opera. Curated conversation and digital shorts are also available on PBS social media platforms using #PBSForTheArts. 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. One of the things that is so incredible about Rigoletto within Verdis oeuvre is its pacing. The Metropolitan Opera: Rigoletto (2022) movie cast and actor biographies. Too often, these are underrehearsed affairs, with unimaginative casting and uninspired direction. 2022 Metropolitan Opera Wiener Staatsoper; 2021 Royal . (Who struck you? Arizona Operas programming includes something for everyone, from tried-and-true opera lovers to school-aged children and everyone in between. GREAT PERFORMANCES is on Facebook+ follow @GPerfPBS on Twitter. Elsewhere this season, he sings Sarastro at the Vienna State Opera. Arizona Opera officially announced its 2023/24 Season, featuring four opera productions including a World Premiere in Phoenix and Tucson, as well as the companys inauguralNew Works Festivalin Phoenix, and a new series of community concerts in Tucson. 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. Polish tenor Piotr Beczaa reprises his portrayal of the Duke of Mantua, the role of his Met debut in 2006. Videos. 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. Personally, the climax of his aria, an interpolated high B flat in the middle of an aria thats always on the move, is really hard to pull off smoothly. MEET THE STARS LUNCHEON. Once a seeming fixture with the company throughout the early 2000s, he stopped appearing after the 2016 season. Cast: Quinn Kelsey - Rigoletto Rosa Feola - Gilda Piotr Beczala - Duke of Mantua Craig Colclough - Monterone Varduhi Abrahamyan - Maddalena Andrea Mastroni - Sparafucile Scott Sully - Borsa. Our privacy policy was last updated on Friday 31 January 2020, Benjamin Bernheim (Duke), Quinn Kelsey (Rigoletto) and chorus, Benjamin Bernheim (Duke of Mantua) and Rosa Feola (Gilda), John Relyea (Sparafucile), Benjamin Bernheim (Duke of Mantua) and Aigul Akhmetshina (Maddalena), I've never heard a Gilda so convincingly sound like she is at death's door, Reviewed at Lincoln Center: Metropolitan Opera House, New York City on 10 November 2022. SAS Performing Arts Concert Opera presents the only New York City performance of the Puccini work Il Trittico. Verdi doesnt waste a moment and every single note in the piece plays a crucial role in building its tension and tragedy. 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. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, the Neubauer Family Foundation. Verdi's Rigoletto. A loud, unsubtle performance of a loud, unsubtle production the Met really deserves a new Aida. Our website has been optimized for viewing in the latest versions of Chrome, Firefox, and Safari. She is originally from Las Vegas and attended UNLV. His Chi tha colpita? 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. 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