Desperation took over with the subsequent phrases aggressive, accented, and frantic. 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. It gave off the aria less of a playful feel and emphasized the romantic longing of Gilda. 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. As her brother Sparafucile, John Relyea was appropriately menacing, sliding in and out of the shadows despite his massive frame. Ah! Varduhi Abrahamyan makes her Met debut as Maddalena, and Andrea Mastroni is Sparafucile. But then the turntable starts to move. Mozart's Idomeneo. The Met Operas faithfulness to Michael Mayers increasingly unnerving, Taking on that task in this production was, In the role of Sparafucile, Relyea continued his revival with the company. 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. N New Production. [June 4, 2022, Encore on June 8, 2022] Check out the entire Met Opera season! This choice also fit in nicely with the coloratura, generating a fluidity throughout. dammi coraggio was sung with a glorious piano to forte crescendo that expressed Gildas fear and pain all at once. Schedule November 10, 2022 19:30:00 Ei sta sotto ai miei piedi! Metropolitan Opera Announces Cast Change For RIGOLETTO Performances are May 28 and June 1, 4, 8, and 11. by Stephi Wild May. Abbonamento a partire da 12,50/mese His most-recent work on Broadway includes Tootsie, Kiss Me Kate, and My Fair Lady. He also had the opportunity of interviewing numerous Oscar nominees, Golden Globe winners and film industry giants such as Guillermo del Toro, Oscar Isaac and John Leguizamo among others. Beyond the costumes, it's hard to see what Sher has actually done with the purported Weimar inspiration he captures neither the hedonism nor the sense of imminent downfall of the period but it's an attractive, efficient production that will surely be revived for years to come. American conductor Karen Kamensek is currently leading Philip Glass's Akhnaten at the Met, the production she made her company debut with in 2019. (Who struck you? {{::date | momentFormat:'D'}}{{$last ? '' Classical Music Opera The Met: "Rigoletto" (Review) Feb. 8 and Feb. 19 at 8, Feb. 12 at 7:30, and Feb. 16 at 1: . And in this case, there is nothing confusing about the Act three trio, which is as straightforward as Rigoletto gets both musically and dramatically (there is nothing subtle about a murder performed with a ghostly choral accompaniment and underscored by an orchestral thunderstorm). As he crescendoed into Mora! you could feel the pain and anger wrapped into one. Bass-baritone John Relyea is Sparafucile, and mezzo-soprano Aigul Akhmetshina also debuts as Maddalena. 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. Elsewhere this season, he sings Sarastro at the Vienna State Opera. 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. His singing had rawness and pointedness, particularly as he poked fun at Ceprano and Monterone. Caro nome was a bit of a mixed bag for Feola. And while Feola also delivered well on the higher lines throughout the Vendetta duet, the quartet, and trio (a tough task for all three singers as mentioned), the final duet was another moment of sublime singing from the soprano.Lass in ciel was delivered with the utmost delicacy of sound, each note angelic in its purity. He made his Met debut in 1993 with Elijah Moshinskys production of Ariadne auf Naxos, which also returns this season. 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. Her costume designs are currently featured in the new Broadway production of Moulin Rouge!. 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. Throughout the night it seemed that Scappucci was operating on extremes in terms of tempi. Once a seeming fixture with the company throughout the early 2000s, he stopped appearing after the 2016 season. From her feverish rushing down the stairs to greet her father, you could sense a character full of energy and aspiration. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, the Neubauer Family Foundation. When you have a tenor like this cast had, the choice is made that much more difficult. With Varduhi Abrahamyan, Piotr Beczala, Rosa Feola, Quinn Kelsey. Our website has been optimized for viewing in the latest versions of Chrome, Firefox, and Safari. 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. And, because of how extreme these tempi were, a lot of the rich orchestral details felt underplayed or ignored. 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. Audio from the December 31, 2021, as well as the January 4, 19, and June 8, 2022, performances will be streamed live on the Mets website, metopera.org. But the rest of the duet was gloriously sung, with the sopranos fuller sound matching baritone Quinn Kelseys powerful baritone. Returning from the premiere cast were Quinn Kelsey and Rosa Feola as Rigoletto and Gilda. Akhmetshina, but even caressing a cross on the wall, a childish smile on his face. There was an aggressive nature to his opening scene, almost as if his Rigoletto were always on the defensive in this predatory world. The singers, who were all on their A-game, often sounded a bit uncomfortable. Cast: Joseph Paur,Frank Gerrish,Ivey Lloyd . In their Met debuts, Yulia Matochkina sings Maddalena, and Ante Jerkunica sings Sparafucile. The most egregious circumstance however was a more subtle one. 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. Our website has been optimized for viewing in the latest versions of Chrome, Firefox, and Safari. John Dexter's production, now among the longest-serving in the company's repertory, remains a marvel of simple, effective storytelling. However, things started getting a bit off during the dolce sixth leaps on a te and the ensuing sixteenth note runs; the soprano sounded stretched and there was even a moment where she went a bit flat in the runs. Ella mi fu rapita is the tenors big moment, not only vocally, but also dramatically, allowing for a moment of potential contrast and depth. 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 took but a moment before she was rushing away down the stairs. 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. 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. The soloists were as good as you could hope for with this opera. Rigoletto at the Met, Spring Cast May 2, 2013. . and bright color palettes that have served him best in Rossini comedies at the Met are also on display. Though her voice is not especially large it carries nicely, especially her plummy chest voice. A dream cast assembles for Strauss's grand Viennese comedy. But when he commenced Deh, non parlare al misero, his voice took on a honeyed hue full of yearning. The final duet was magnetic not only for Feolas interpretation but Kelseys pained pleas of Non morire, mio tesoro, pietade! 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. There are plenty of vocal thrills in Sir David McVicar's new production of Giordano's revenge thriller at the Metropolitan Opera. 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?) mia Gilda was spoken, the effect expressing how empty Rigoletto feels in this moment. 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. But when he realized the Duke was still alive, his body contorted, and his sound suddenly dimmed as he wondered what had happened. Maestro Daniele Rustioni leads Verdis timeless tragedy reset in 1920s Europe by Tony-winning director Bartlett Sher. 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 restatement of the main melody was delivered with an even more intimate and sensual piano. 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. The Met rings in the new year with the gala premiere of a bold new take on Verdi's timeless tragedy from Bartlett Sher. Rigoletto returns in the spring for five performances May 28June 11, 2022. Other recent highlights include Lauretta in Gianni Schicchi at the Bavarian State Opera, Norina in Don Pasquale and Adina in LElisir dAmore at La Scala, Fiorilla in Il Turco in Italiain Zurich, and Ilia in Idomeneo and Micala in Carmen in Rome. And suddenly our attention shifts away from Rigolettos truly private and essential CHARACTER moment, to something else. And so we come to the end. She is directing the pace and motion of the drama to what she feels is most appropriate. His Cortigiani is utterly overwhelming, the emotional anchor of the entire work. 2010-2023 Bachtrack Ltd. All rights reserved. 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. She frequently sings at Moscows Bolshoi Theatre, Deutsche Oper Berlin, Teatro dellOpera di Roma, and LA Opera. Whats left to say, but that vocally this was some of the finest casts that the Met has assembled for a production this season. MEET THE STARS LUNCHEON. 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. The Vienna State Opera's production of Rigoletto did its job, proving an appropriately grim staging for a very dark opera. Our website has been optimized for viewing in the latest versions of Chrome, Firefox, and Safari. But he's at his best in his scenes at home with Gilda, with a burnished legato and seemingly endless breath. Karel Mark Chichon conducts. The aforementioned Possente creates some major visual dissonance for the audience do we focus on the tenor singing the aria? 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. Verdi's Rigoletto. NYT Critic's Pick. 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. Kelsey reprises the title role opposite Kristina Mkhitaryan as Gilda and Stephen Costello as the Duke of Mantua. You can always feel tenors getting ready for this big moment and then when it comes, they drag it out, which unfortunately undercuts everything else that makes this aria so emblematic of the Dukes character. Also making her debut was the young mezzo Aigul Akhmetshina as Maddalena. Taking on that task in this production was Speranza Scappucci, making her Metropolitan Opera debut. John Relyea will make his Met role debut as Sparafucile in Verdi's Rigoletto, replacing Andrea Mastroni. 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. adesso non ridete? was heavily accented, allowing Kelsey to really express Rigolettos fury. From the opening line of the recitativo to the end of the aria, Bernheim was all in on delivering a performance of utmost intensity. 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. Rigoletto returns in the spring for five performances May 28-June 11, 2022. During the quartet, Bella figlia dellamore, Bernheim delivered another display of glorious legato singing. Il Trittico is comprised of three one act operas; Il Tabarro (The Cloak), Suor Angelica (Sister Angelica), and Gianni Schicchi. The climactic final B natural, and the preceding run, were delivered with bravura, the high note reverberating throughout the cavernous Met. The La r, la r, la r started off aggressive, the baritone placing forceful accents throughout. And its definitely worth checking out. Later this season, he will sing Wotan in Wagner's Das Rheingold at English National Opera, King Marke in Act III of Wagner's Tristan und Isolde in concert with the Deutsches Symphonie-Orchester Berlin, and Hunding in Wagner's Die Walkre in Naples. Additional details. 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 . In the context of the opera, the merely lovely music becomes inspired drama. For further details on Rigoletto, including casting by date, please click here. 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. Abrahamyan makes her Met debut in 2016 conducting Madama Butterfly, returning in 2020 for performances La. And bright color palettes rigoletto met opera 2022 cast have served him best in his scenes at home with Gilda, with company. 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