But then the turntable starts to move. That Kelsey matched her phrasing only added to the impact of this glorious moment. Too often, these are underrehearsed affairs, with unimaginative casting and uninspired direction. 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. If you are using Internet Explorer or other browsers you may encounter problems with certain sections of our website. The December 31 performance, as well as the January 4, 19, 29, and June 8, 2022, performances of Rigoletto will be broadcast live on Met Opera Radio on Sirius XM Channel 355. Rigoletto [rioltto] is an opera in three acts with music by Giuseppe Verdi and an Italian libretto by Francesco Maria Piave, based on the play The The King Has Fun, by Victor Hugo.Premiered on March 11, 1851 at the La Fenice theater in Venice, together with El troubadour and La traviata (both from 1853), it forms the popular trilogy that Verdi composed. Samson et Dalila (Saint-Sans) Tosca (Puccini) The Elixir of Love (Donizetti) #PBSForTheArts is a multiplatform campaign that celebrates the arts in America. During the quartet, Bella figlia dellamore, Bernheim delivered another display of glorious legato singing. For up-to-date casting go back to the previous page. 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.. And, because of how extreme these tempi were, a lot of the rich orchestral details felt underplayed or ignored. Recently, he performed Sarastro in Die Zauberflte in Cologne, Philip II in excerpts of Don Carlo at Deutsche Oper Berlin, and Osmin in Die Entfhrung aus dem Serail at the Hamburg State Opera. The collection of #PBSForTheArts programs is available at pbs.org/arts and the PBS Video app. Opera is thriving. GREAT PERFORMANCES AT THE MET: Rigoletto Preview, "Cortigiani, vil razza dannata" from "Rigoletto", Piotr Beczaa Performs "La donna mobile". 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. : ','}}, 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). Industry Professionals. Quinn Kelsey and Rosa Feola as Gilda in a scene from Verdi's "Rigoletto." Premieres Friday, June 17, 2022 at 9 p.m. on KPBS 2 / On demand with PBS Video App Baritone Quinn Kelsey portrays the. Solo per me linfamia, instead of bitter and reproachful, sounded sorrowful and hurt in its approach. She slowly crept up those stairs, the trepidation apparent, and glimpsed inside. The Metropolitan Opera: Rigoletto (2022) movie cast and actor biographies. 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. Curated conversation and digital shorts are also available on PBS social media platforms using #PBSForTheArts. Cortigiani starts off with just strings, the violins playing triplet sixteenths, the violas and celli answering with their own intermittent triplet sixteenths, and the bass providing a repeated eighth pedal that lends weight and grounding to the scurrying violins. And while that is true, the turntable also becomes a distraction here at some key dramatic moments. 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. 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. Quinn Kelsey as Rigoletto and Rosa Feola as Gilda in Verdi's "Rigoletto." Photo: Ken Howard / Met Opera. Revivals of operatic warhorses like Verdi's Rigoletto can be hit or miss at an opera house the size of the Metropolitan Opera. American tenor Stephen Costello reprises his portrayal of the Duke of Mantua, a role he previously performed in 2015 at the Met. The Metropolitan Opera. More information is available on the official website of the opera house. Benjamin Bernheim filled the auditorium with a sound that was powerful, beautiful and intelligent. On first listen, Feolas voice is not what has become the typical Gilda voice a light coloratura voice with extreme highs. A seven-time Tony Awardwinner, her work has been seen on Broadway in productions such as My Fair Lady, Oslo, The King and I, Golden Boy, How to Succeed in Business Without Really Trying, Born Yesterday, South Pacific, and The Light in the Piazza. 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. But as the aria transitioned away from anger toward pleading, his voice correspondingly softened. 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. 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. 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. He earned a Tony Award for directing South Pacific in 2008 and received Tony nominations for his Broadway productions of Golden Boy, Joe Turners Come and Gone, Awake and Sing!, and The Light in the Piazza. Met Opera: Rigoletto review [November 2022] Proving that money and insight do not necessarily mix, this first revival season of Met Opera's new Rigoletto looks suitably grand, and sounds wonderful, but generally leaves the audience cold. 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. . Ella mi fu rapita is the tenors big moment, not only vocally, but also dramatically, allowing for a moment of potential contrast and depth. 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. In May 2017, he was appointed chief conductor and artistic director of the Orquesta Filarmnica de Gran Canaria and was the chief conductor of the Deutsche Radio Philharmonie from 2011 to 2017. 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. Though her voice is not especially large it carries nicely, especially her plummy chest voice. Kelsey is impressive in the title role, his hulking, muscular baritone dominating the stage. But most of the night, and especially in these fast sections, the weight in the lower strings was completely inaudible (please note that I was in the orchestra section and that might have had something to do with that experience). She is currently a studio artist at Moscows Bolshoi Theatre, which she joined after singing at the Galina Vishnevskaya Theatre Studio. 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. A loud, unsubtle performance of a loud, unsubtle production the Met really deserves a new Aida. She frequently sings at Moscows Bolshoi Theatre, Deutsche Oper Berlin, Teatro dellOpera di Roma, and LA Opera. 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Returning from the premiere cast were Quinn Kelsey and Rosa Feola as Rigoletto and Gilda. 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. Runtime: 210 min. He remarks how both men are similarly toxic, a comparison that the opera continually draws between all the male characters as the story develops. All performances to. Moreover, he started closing in on the other men around him, almost as if ready to strike them. This conversation features leaders of the Dallas Symphony, including Ross . His 2014 interview with opera star Kristine Opolais was cited in a New York Times Review. 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. 2022 | 20:00 Rigoletto, Verdi, The Metropolitan Opera | New York City, United States fr. Her vocal approach to the role was perfectly aligned to her characterization. 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. As the passage drew to its conclusion, he thundered on the final Ah no, follia, the voice vibrant and powerful on the high E. More remarkable still was how contained Kelsey was on stage, and yet his body language expressed every one of these emotions. The Metropolitan Opera has looked to its deep bench of replacement singers to survive the Omicron surge, including the baritone Michael Chioldi, who has jumped into the title role of Verdi's. 17 des. She has designed for opera houses around the world, including English National Opera, Washington National Opera, San Francisco Opera, and the Salzburg Festival. ****1 A fine showing for the 1884 Italian version of Don Carloat the Met Robert Levine, 9th November A dream cast assembles for Strauss's grand Viennese comedy. 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. For the Met: Mia Bongiovanni is supervising producer and Louisa Briccetti and Victoria Warivonchik are producers. 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. Canadian bass-baritone John Relyea, who just ended a highly acclaimed run as Boris Ismailov in the Met's production of Shostakovich's Lady Macbeth of Mtsensk, will also be singing the role of the Grand Inquisitor in all of the Met's upcoming performances of Verdi's Don Carlo, which opens on November 3. Russian soprano Kristina Mkhitaryan makes her Met role debut as Gilda. adesso non ridete? was heavily accented, allowing Kelsey to really express Rigolettos fury. 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. 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. Despite her frumpy costume, she's ideal for the role, clearly having the time of her life vamping around the stage. Review: Amid Omicron, the Met Opera Opens a Weimar 'Rigoletto'. Tony winner Ivo van Hove will also direct Mozart's Don Giovanni. 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. 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. Kevin Puts'. Written during the most fertile period of Verdis artistic life, the opera resonates with a universality that is frequently called Shakespearean. Home Performances Rigoletto. Throughout the night it seemed that Scappucci was operating on extremes in terms of tempi. 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