The climactic final B natural, and the preceding run, were delivered with bravura, the high note reverberating throughout the cavernous Met. On first listen, Feolas voice is not what has become the typical Gilda voice a light coloratura voice with extreme highs. Bartlett Sher previously staged Rigoletto in Berlin in June 2019 and October 2019. He has served as principal conductor the Opra National de Lyon since 2017 and chief conductor of the Ulster Orchestra since 2019. This original and thrilling production is led by Metropolitan Opera conductor Gregory Buchalter and directed . Canadian bass-baritone John Relyea, who just ended a highly . We are doing maintenance on the website until approximately 1 am ET Friday, February 10. camera operator Music Department Additional Crew Bartlett Sher . Opera Met Opera's 2022-2023 Season Includes Rene Fleming and Kelli O'Hara in The Hours, Terence Blanchard's Champion, More. 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. 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. The arias tempo marking is Andante mosso agitato while the preceding tempo indication is a faster one Allegro vivo. He made his Met debut with a production of Il Barbiere di Siviglia during the 200607 season, followed by stagings of Les Contes dHoffmann, LElisir dAmore, Otello, and Romo et Juliette, as well as the company premieres of Le Comte Ory and Nico Muhlys Two Boys. Kevin is a violinist and violist, and regularly performs as a soloist, chamber musician, and as an orchestral player. 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. She readily negotiates the coloratura of the first act, culminating in a delectable Caro nome, but it's in the latter acts that she truly shines. The Metropolitan Opera has announced that baritone Michael Chioldi will be taking on the lead role in Verdi's "Rigoletto." Chioldi will take over for Quinn Kelsey who debuted the new production by Bartlett Sher on New Year's Eve. Other aspects work better, including the dark alley scene between Rigoletto and Sparafucile, which also makes an argument for the less is more principle. Returning from the premiere cast were Quinn Kelsey and Rosa Feola as Rigoletto and Gilda. She has designed for opera houses around the world, including English National Opera, Washington National Opera, San Francisco Opera, and the Salzburg Festival. 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?) While the soprano was at her best during the delicate opening lines of the piece, her piano singing almost parlato in its effect and generating a powerful intimacy between audience and performer. Despite her frumpy costume, she's ideal for the role, clearly having the time of her life vamping around the stage. 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. Bass-baritone John Relyea is Sparafucile, and mezzo-soprano Aigul Akhmetshina also debuts as Maddalena. Description New production. Met Opera | April 15, 2023. The Metropolitan Opera. British costume designer Catherine Zuber has been designing for productions at the Met since her debut with Bartlett Shers staging of Il Barbiere di Siviglia in 2006. In a recent interview with OperaWire, composer Lori Laitman noted that Verdis Rigoletto was among her favorite operas. Perhaps Feolas standout moment came in the ensuing act during Tutte le feste al tempio. The recitative that preceded the duet proper, Ciel! But then the turntable starts to move. Karel Mark Chichon conducts. Croatian bass Ante Jerkunica makes his Met debut as Sparafucile this season. Ella mi fu rapita is the tenors big moment, not only vocally, but also dramatically, allowing for a moment of potential contrast and depth. (Who struck you? 2022 | 19:00 Rigoletto, Verdi, The Metropolitan Opera | New York City, United States ti. Production title: Rigoletto - The Metropolitan Opera (2021-2022) Creation date: 02/06/2019 Work - Composer: Rigoletto - Giuseppe Verdi Opera house: The Metropolitan Opera. Of course, Scappucci has license to interpret those tempo indications as she sees fit. 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. But the rest of the duet was gloriously sung, with the sopranos fuller sound matching baritone Quinn Kelseys powerful baritone. The character-driven chamber opera, a collaboration between acclaimed American composer Heggie and librettist Gene Scheer, based on a script by Terrence McNally, will be directed by Gary Briggle and presented at the Jungle Theater. Cast: Quinn Kelsey - Rigoletto Rosa Feola - Gilda Piotr Beczala - Duke of Mantua Craig Colclough - Monterone Varduhi Abrahamyan - Maddalena Andrea Mastroni - Sparafucile Scott Sully - Borsa. Kelsey is impressive in the title role, his hulking, muscular baritone dominating the stage. The two visibly reveled in the sensuality of the cadenza, their voices navigating the lines seamlessly. MEET THE STARS LUNCHEON. The answer was in this very guttural sound. {{::date | momentFormat:'D'}}{{$last ? '' If you are using Internet Explorer or other browsers you may encounter problems with certain sections of our website. 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. We might use this to show you more relevant content, We might use this to let you know about interesting events to attend near you, We might use this to address you personally in our newsletters. But he had a major triumph this year as the Grand Inquisitor in Don Carlos and then . This isnt all that dissimilar from the new Lucia di Lammermoor production that opened earlier this year; its more subtle, but the visual dissonance is very much the same. and the castwhich includes eljko Lui, Diana Damrau, Piotr Beczala . Discovered and promoted by Valery Gergiev, she began her career at the Mariinsky Theatre, collaborating . One of the things that is so incredible about Rigoletto within Verdis oeuvre is its pacing. GREAT PERFORMANCES AT THE MET is produced by the Metropolitan Opera in association with PBS and The WNET Group, bringing the best of the Metropolitan Opera into the homes of opera fans across the country. He remarks how both men are similarly toxic, a comparison that the opera continually draws between all the male characters as the story develops. 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. Review: Amid Omicron, the Met Opera Opens a Weimar 'Rigoletto'. esser difforme, esser buffone, the voice shifting from grainy to soft and delicate as he sang Il retaggio dogni uom m tolto, il pianto.. 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. 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. Other notable roles include Ramfis in Aida in Verona and Zurich, Giorgio Germont in La Traviata at La Scala, Colline in La Bohme in Venice, and Sarastro in Die Zauberflte at the Hamburg State Opera. Luiz Gazzola Opera Lively. 2021-2022 Season. With Varduhi Abrahamyan, Piotr Beczala, Rosa Feola, Quinn Kelsey. The broadcast is part of season 16 of GREAT PERFORMANCES AT THE MET includes 10 new operas. From her feverish rushing down the stairs to greet her father, you could sense a character full of energy and aspiration. The ensuing stanza was sung with a similar gentleness, but you could feel that she was taking a bit more time with it, thus amplifying the intensity so that the second climax to the high A, despite a similar dynamic phrasing, had a punchier, emotional impact and set up the increased agitation of what follows. Even in the lower reaches of this section, his voice retained that gentility, always soft and warm. 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. For up-to-date casting go back to the previous page. On the repeat of the melody, she spun a similarly delicate legato line, her high B flats fluid and sparkling. During the trio, he erupted with the firepower that hed displayed in Don Carlo, his voice booming over the orchestral torrent, his phrasing precise and pointed. That said, this is a step up from the Las Vegas episode. Ei sta sotto ai miei piedi! Keep up with all the latest news, arts and culture, and TV highlights from KPBS. American lighting designer Donald Holders credits at the Met include the Gershwins Porgy and Bess, Die Zauberflte, Nico Muhlys Two Boys, Otello, and Samson et Dalila. In the Duke's court he is appropriately terrifying, spitting words out with a cynical sneer. 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). 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. Pretty but Pointless. The soloists were as good as you could hope for with this opera. 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. 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