The collection of #PBSForTheArts programs is available at pbs.org/arts and the PBS Video app. 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. 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. Roger Hodgman, 53, is director of the Melbourne Theatre Company. 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. 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. 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. Rigoletto returns in the spring for five performances May 28June 11, 2022. Italian soprano Rosa Feola returns to the Met this season as Gilda, the role of her 2019 company debut. Soprano Nadine Sierra stars as the self-sacrificing courtesan Violettaone of opera's ultimate heroinesin Michael Mayer's vibrant production of Verdi's beloved tragedy. 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. The Age - Thu, 31 Oct 2019 . Opera in the Park; Don Giovanni (Mozart) . The soloists were as good as you could hope for with this opera. His particular interests include 20th century French violin sonatas and baroque opera, and he is currently pursuing his PhD in London, UK. Audience. Rigoletto at the Met, Spring Cast May 2, 2013. . 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. American baritone Quinn Kelsey returns to the Met this season, making his company role debut in the title role of Rigoletto. His other recent performances include Cavaradossi in Tosca at the Vienna State Opera, des Grieux in Manon in Zurich, and Rodolfo in Luisa Miller at Gran Teatre del Liceu in Barcelona. And like Laitman, it has always remained one of my favorites, exploring the damaging impact of a toxic patriarchal world where no man is without shame or blame (it was particularly striking this time around to realize that despite being a teenager, Gilda knows nothing of her familys past; her fathers attempt to lock his daughter away from the world seems to include keeping her own story and identity from her as well). 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. And while that is true, the turntable also becomes a distraction here at some key dramatic moments. She performs regularly at the Moscow Easter Festival, St. Petersburgs Stars of the White Nights Festival, and has also appeared at the Edinburgh and Verbier Festivals. During his time at Fordham, he studied abroad at the Jagiellonian University in Poland. Check out the latest photos and bios of the cast and filmmakers of The. This opera, like many of the composers greatest, moves. Instead, Feolas has greater weight and heft, especially in the middle range where she has brightness but also potency that cuts through. 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. Written during the most fertile period of Verdis artistic life, the opera resonates with a universality that is frequently called Shakespearean. Quinn Kelsey as Rigoletto and Rosa Feola as Gilda in Verdi's "Rigoletto." Photo: Ken Howard / Met Opera. He has served as principal conductor the Opra National de Lyon since 2017 and chief conductor of the Ulster Orchestra since 2019. 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 The customary dark leather jacket that is a staple of the Sher operatic universe is here (its really something that the Duke of Mantua, Romeo, Count Almaviva, and Otello, all get to wear the same-looking coat at some point in their respective operas; perhaps theres some thematic connection there?) Il Trittico is comprised of three one act operas; Il Tabarro (The Cloak), Suor Angelica (Sister Angelica), and Gianni Schicchi. American rags, riches and everything in between. If you are using Internet Explorer or other browsers you may encounter problems with certain sections of our website. The opening lines of the duet were sung with utmost delicacy, the soprano slowly building up to the high A on daglocchi il cor, the high note suddenly full of rage and anger, before the line diminuendoed to a tearful resolution. As he shouted out Addio from behind a closed door, Feolas Gilda shifted from tentative and nervous to sprightly and excited. ****1 A fine showing for the 1884 Italian version of Don Carloat the Met Robert Levine, 9th November 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. . Carlos lvarez performs in the title role, alongside Lisette Oropesa and Liparit . 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. 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. But these emphatic tempi shifts stood out as unrefined for a number of reasons. 2022 | 19:00 Rigoletto, Verdi, The Metropolitan Opera | New York City, United States l. She also conducted the Met's original cast album of Akhnaten, which won the 2022 Grammy Award for Best Opera Recording. Cast: Joseph Paur,Frank Gerrish,Ivey Lloyd . As Gilda, Rosa Feola had a solid night overall. AussieTheatre.com - Mon, 16 Mar 2020 . But as the aria transitioned away from anger toward pleading, his voice correspondingly softened. Bass-baritone John Relyea is Sparafucile, and mezzo-soprano Aigul Akhmetshina also debuts as Maddalena. She brought a seemingly endless supply of energy to the evening, with swift tempi and impressively monolithic brass. Her vocal approach to the role was perfectly aligned to her characterization. This season at the Met, she also sings Olga in Eugene Onegin. 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. In January 2020, she performed recitals at New York Citys Park Avenue Armory and the Kennedy Center. Taking in the work on Monday, Nov. 14, 2022 for the first time in years, her words resonated rather deeply with me. But when he commenced Deh, non parlare al misero, his voice took on a honeyed hue full of yearning. 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. This choice also fit in nicely with the coloratura, generating a fluidity throughout. 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. 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. 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 . Opera Met Opera's 2022-2023 Season Includes Rene Fleming and Kelli O'Hara in The Hours, Terence Blanchard's Champion, More. The arias tempo marking is Andante mosso agitato while the preceding tempo indication is a faster one Allegro vivo. But the finest singing of the evening came from Benjamin Bernheim, making his long-overdue Met debut. His initial recitativo was colored by bitterness with the ensuing smoothness of his legato on E dove ora sar quellangiol caro? transitioning into a warmer timbre that hinted at his longing for Gilda. 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. She is originally from Las Vegas and attended UNLV. Additional details. The mezzo-soprano Aigul Akhmetshina is making her debut in the role of Maddalena. Even when they struggled with the tempo at the start of Addio addio, they barely missed a step, finding one another and surging forward. Sunday, March 18th, 1pm. 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. Last season, he sang the Grand Inquisitor in the Met premiere of the five-act French version of Verdi's Don Carlos and the Ghost of King Hamlet / First Player / Gravedigger in the company premiere of Brett Dean's Hamlet. 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. 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. Kelsey reprises the title role opposite Kristina Mkhitaryan as Gilda and Stephen Costello as the Duke of Mantua. In their Met debuts, Yulia Matochkina sings Maddalena, and Ante Jerkunica sings Sparafucile. Her body was full of fear and confusion as she ran about the turning table, women racing after her to undress her. She has also sung Gilda at the Bavarian State Opera, Lyric Opera of Chicago, Ravenna Festival, and in Rome, Zurich, Turin, and Savona. Grinnell College will stream "Rigoletto" on Jan. 29 as part of the Met's 2021-22 Live in HD season. Then theres some bizarre choices like the sudden abstraction during the Act three trio where the lights go red inside the inn and Gilda has a seeming out of body experience? If you are using Internet Explorer or other browsers you may encounter problems with certain sections of our website. 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. Caro nome was a bit of a mixed bag for Feola. She has designed for opera houses around the world, including English National Opera, Washington National Opera, San Francisco Opera, and the Salzburg Festival. Croatian bass Ante Jerkunica makes his Met debut as Sparafucile this season. Music Director Yannick Nzet-Sguin is on the podium to conduct a supreme cast led by tenor Piotr Beczaa in the title role of the mysterious swan knight. Is it possible to have a minor success on every level? They met in 1979 in Rabe's home town of Vancouver, married five years . It was also quite present during the S vendetta where the initial tempo surged forward so immediately that the actual stringendo written into the score near its climax sounded like a slowdown instead. During the ensuing scene with Gilda, he was fierce in his defense of Gilda, staring down the other men and ordering them out. Armenian mezzo-soprano Varduhi Abrahamyan makes her Met debut as Maddalena. 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. Videos. or do we focus on Gildas preparations for her sexual encounter with the Duke? 20 des. But when he realized the Duke was still alive, his body contorted, and his sound suddenly dimmed as he wondered what had happened. With his big shoulders, big jaw, and his great, shiny Half Dome of a head, Kelsey gives Rigoletto immense presence even before he opens his mouth. They felt detached from transitions into them, when they existed (like in Cortigiani). The story, based on a controversial play by Victor Hugo, tells of an outsidera hunchbacked jesterwho struggles to balance the dueling elements of beauty and evil that exist in his life. In the Duke's court he is appropriately terrifying, spitting words out with a cynical sneer. 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? 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. Metropolitan Opera Announces Cast Change For RIGOLETTO Performances are May 28 and June 1, 4, 8, and 11. by Stephi Wild May. For the Met: Mia Bongiovanni is supervising producer and Louisa Briccetti and Victoria Warivonchik are producers. For more information, visit metopera.org. The Vienna State Opera's production of Rigoletto did its job, proving an appropriately grim staging for a very dark opera. He is a professor at the Yale School of Drama. On the repeat of the melody, she spun a similarly delicate legato line, her high B flats fluid and sparkling. Join the DSO Women's History Month Celebration: Join the launch of the DSO's virtual Women in Classical Music in Conversation series on Wednesday, March 1, at 12:00 pm, which will provide a community forum and build upon the relationships formed at the symposium. 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. Confusion, unless part of the thematic underpinning of the story, never makes for good storytelling. ) right before the final duet was almost howled, its effect spine-chilling. 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. They offer both strong bones and flexibility . . 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. 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. 2022 | 19:00 Rigoletto, Verdi, The Metropolitan Opera | New York City, United States ti. 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. A new 'guide' can help. 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. 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. Two artists make notable Met debuts: the tenor Benjamin Bernheim as the Duke of Mantua and the conductor Speranza Scappucci in the pit. 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. 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. Mia colomba, lasciarmi non dei!These were sung with the softest piano singing that Kelsey managed the entire evening, his voice but a weeping thread of sound, each time growing softer and more heart-breaking, especially as he held her in his arms. It was based on a libretto by Angelo Anelli for Stefano Pavesi 's opera Ser Marcantonio written in 1810 [1] but, on the published libretto, the author appears as "M.A." Don Pasquale, opera buffa (comic opera) in three acts by Italian composer Gaetano Donizetti (Italian libretto by Donizetti and Giovanni Ruffini) that premiered at the . With a cynical sneer good storytelling. bass Ante Jerkunica sings Sparafucile had a solid night.. 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