He has served as principal conductor the Opra National de Lyon since 2017 and chief conductor of the Ulster Orchestra since 2019. Elsewhere this season, he sings Sarastro at the Vienna State Opera. 2021-2022 Season. and the castwhich includes eljko Lui, Diana Damrau, Piotr Beczala . As Maddalena, Mezzo-soprano Aigul Akhmetshina displayed a plush and punchy sound that matched perfectly with bass John Relyea throughout the trio. Benjamin Bernheim filled the auditorium with a sound that was powerful, beautiful and intelligent. 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 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. But then the turntable starts to move. The moment where this kind of tempo whiplash stood out more was right before Cortigiani, Rigolettos other big solo moment. 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. However, it included some glaring strange elements that were impossible to ignore. From her feverish rushing down the stairs to greet her father, you could sense a character full of energy and aspiration. Met Opera | December 17, 2022. Instead, Feolas has greater weight and heft, especially in the middle range where she has brightness but also potency that cuts through. It was the epitome of style over substance and after seeing it a few times, no singer however great could get me to subject myself to its charmlessness. 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. Later performances feature four additional stars, with baritones Luca Salsi and Michael Chioldi, soprano Lisette Oropesa, and tenor Stephen Costello taking over as Rigoletto, Gilda, and the Duke. Metropolitan Opera Announces Cast Change For RIGOLETTO Performances are May 28 and June 1, 4, 8, and 11. by Stephi Wild May. 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. His 2014 interview with opera star Kristine Opolais was cited in a New York Times Review. You could sense the insecurity she felt upon finding the Duke, her body shifting into a protective shell before allowing herself to be taken by him. It was hard to decipher what was going on and the fact that this kind of abstraction was never hinted at our set up anywhere else in the production (which was played as straight as possible) took you right out of the moment. Polish tenor Piotr Beczaa reprises his portrayal of the Duke of Mantua, the role of his Met debut in 2006. Varduhi Abrahamyan makes her Met debut as Maddalena, and Andrea Mastroni is Sparafucile. 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. This video really should have had a fourth example, though. Francesco Maria Piave (1810-76), Verdi's librettist for Rigoletto, collaborated with him on ten works, including Ernani, La Traviata, La Forza del Destino, and the original versions of Macbethand Simon Boccanegra. He also holds a dual bachelors from Hofstra University in Film Production and Journalism. Cast: Quinn Kelsey - Rigoletto Rosa Feola - Gilda Piotr Beczala - Duke of Mantua Craig Colclough - Monterone Varduhi Abrahamyan - Maddalena Andrea Mastroni - Sparafucile Scott Sully - Borsa. For the Met: Mia Bongiovanni is supervising producer and Louisa Briccetti and Victoria Warivonchik are producers. Bartlett Sher's Weimar-inspired production premiered less than a year ago, and is eminently revivable. 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. 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. The Metropolitan Opera: Rigoletto (2022) movie cast and actor biographies. He has conducted all of the major Italian symphony orchestras, as well as many throughout Europe, and has also led productions at La Scala, Staatsoper Berlin, Dutch National Opera, the Paris Opera, Pesaros Rossini Opera Festival, and in Aix-en-Provence, Valencia, Venice, Madrid, Stuttgart, Zurich, Tokyo, Rome, and Naples, among others. As he shouted out Addio from behind a closed door, Feolas Gilda shifted from tentative and nervous to sprightly and excited. Il Trittico is comprised of three one act operas; Il Tabarro (The Cloak), Suor Angelica (Sister Angelica), and Gianni Schicchi. But as the aria transitioned away from anger toward pleading, his voice correspondingly softened. When the Page arrives, he recovered his strength, his voice growing metallic and accented, almost speaking some of the notes. Verdi: Rigoletto (2022) Full Cast & Crew See agents for this cast & crew on IMDbPro Directed by Gary Halvorson Writing Credits (in alphabetical order) Cast Camera and Electrical Department Kevin Murphy . But the finest singing of the evening came from Benjamin Bernheim, making his long-overdue Met debut. Rigoletto opens on November 10, with Rosa Feola and Lisette Oropesa sharing the role of Gilda, Aigul Akhmetshina as Maddalena, Benjamin Bernheim and Stephen Costello as the Duke of Mantua, and Quinn Kelsey, Michael Chioldi, and Luca Salsi as Rigoletto. Prior to creating OperaWire, DAVID SALAZAR, (Editor-in-Chief) worked as a reporter for Latin Post where he interviewed major opera stars including Placido Domingo, Anna Netrebko, Vittorio Grigolo, Diana Damrau and Rolando Villazon among others. He does manage some darker tableaus to fit with the general mood of Rigoletto, but he also relies heavily on the now cliched turntable that so many directors have aped repeatedly on the Met stage. Met Opera | April 22, 2023 . There were other moments, where the textures simply didnt cohere. He is a resident director of Lincoln Center Theater, where his productions have included My Fair Lady, Oslo, The King and I, and Women on the Verge of a Nervous Breakdown. Rigoletto Worldwide Broadcasts in Cinema, Radio, and Online. Between 2014 and 2020, he was music director of the Orchestra della Toscana, where he is currently artistic director. But when he commenced Deh, non parlare al misero, his voice took on a honeyed hue full of yearning. They felt detached from transitions into them, when they existed (like in Cortigiani). 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 season at the Met, she also sings Olga in Eugene Onegin. But the ensuing Act is where her commitment to the character was at its most powerful. Despite her frumpy costume, she's ideal for the role, clearly having the time of her life vamping around the stage. Metropolitan Opera House, . 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. ****1 A fine showing for the 1884 Italian version of Don Carloat the Met Robert Levine, 9th November 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. The opera, which remains as timely as ever, is undoubtedly one of Verdis and the entire canons greatest. Metropolitan Opera Review - Rigoletto: Oropesa, Grigolo, Gagnidze Give Winning Performances In Vegas April 14, 2013 . Mezzo-soprano Isabel Leonard hosts. She served as music director and chief conductor of Staatsoper Hannover between 2011 and 2016, and music director of Theater Freiburg between 2003 and 2006. Companies. That already tells the audience to shift its focus to whats about to happen. John Dexter's production, now among the longest-serving in the company's repertory, remains a marvel of simple, effective storytelling. The performance of Rigoletto on Saturday, January 29, 2022, will be transmitted live to cinemas around the globe as part of The Met: Live in HD series and broadcast over the Toll BrothersMetropolitan Opera International Radio Network. Two artists make notable Met debuts: the tenor Benjamin Bernheim as the Duke of Mantua and the conductor Speranza Scappucci in the pit. 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. 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. This opera, like many of the composers greatest, moves. During his time at Fordham, he studied abroad at the Jagiellonian University in Poland. 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. Karen Kamensek will conduct the May and June performances of Verdi's Rigoletto, replacing Karel Mark Chichon. That said, this is a step up from the Las Vegas episode. It was one of the finest pieces of staging throughout the night and Feolas commitment was what truly made it work. The announcement was made via the company's social media page and no reason was given for the replacement. 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. A two-time Tony Awardwinner, his designs for Seascape, The Light in the Piazza, South Pacific, Awake and Sing, and Ah, Wilderness have all been seen on Broadway. He made his Met debut in 2007 as Arturo in Lucia di Lammermoor, with other roles for the company including Camille de Rosillon in The Merry Widow, Lord Percy in Anna Bolena, Romo in Romo et Juliette, and Alfredo Germont in La Traviata. He has been nominated for 13 Tony Awardswinning in 2008 for South Pacific and 1998 for The Lion Kingin a career featuring more than 50 productions on Broadway. As her brother Sparafucile, John Relyea was appropriately menacing, sliding in and out of the shadows despite his massive frame. Performances are May 28 and June 1, 4, 8, and 11. 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. The best in live events, streams, reviews and articles recommended by our editors, delivered to your inbox weekly. For GREAT PERFORMANCES: Bill ODonnell is series producer; David Horn is executive producer. Rigoletto has remained a staple at the Met forever. 2022 | 20:00 Rigoletto, Verdi, The Metropolitan Opera | New York City, United States fr. The Age - Sat, 19 Feb 2022 . The Royal Opera Season will open with a new production of Verdi's Rigoletto, directed by Oliver Mears, which will be his first production since becoming The Royal Opera's Director of Opera in 2017.The new production will receive its premiere in September 2021, with Music Director Antonio Pappano conducting. From there his voice grew even more tender, each ensuing phrase a caress as he reached out toward his hurting daughter. Bernheim managed to elegantly pull off the high note without killing the momentum of the piece (high notes throughout the night were always secure with clean cutoffs). Tenor Stephen Costello is her self- centered lover Alfredo, alongside baritone Luca Salsi as his disapproving father, and Maestro Daniele Callegari on the podium. Akhmetshina, but even caressing a cross on the wall, a childish smile on his face. Its an intimate passage and one of Verdis most radical (at the time). Perhaps Feolas standout moment came in the ensuing act during Tutte le feste al tempio. The recitative that preceded the duet proper, Ciel! Schedule November 10, 2022 19:30:00 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 adapting it, Verdi and Piave fought with the Italian censors and eventually settled on moving the story to the non-royal Renaissance court of Mantua, while holding firm on the core issues of the drama. 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.. Discovered and promoted by Valery Gergiev, she began her career at the Mariinsky Theatre, collaborating . Anthony Tommasini is the chief classical music critic. Far more traditional in tone than Michael Mayer's groovy 2013 Las Vegas Rat Pack Rigoletto, this staging . 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. Rigoletto (Verdi) The Abduction from the Seraglio (Mozart) The Merry Wives of Windsor (Nicolai) La bohme (Puccini) 1993-1994 Season. 3 hr 10 minNR Jan 29, 2022 Opera Cast & Crew Piotr BeczalaActor Quinn KelseyActor Rosa FeolaActor Ludovic TezierActor Stephen CostelloActor Daniele RustioniActor 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? 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. 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. Sunday, March 18th, 1pm. Right before the duet with the Duke, Feola delivered a glorious piano to forte crescendo on Tamo before being cut off as the duet proper got underway. 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. Maestro Daniele Rustioni leads Verdis timeless tragedy reset in 1920s Europe by Tony-winning director Bartlett Sher. His entire duet with Rigoletto in Act one was fascinating, the bass digging into his thick and earthy tone with each phrase. and bright color palettes that have served him best in Rossini comedies at the Met are also on display. That was quickly contrasted in the ensuing scene as he roamed about the streets, delivering a hushed and pained Quel vecchio maledivami! The defensiveness of the opening scene continued throughout the conversation with Sparafucile, Kelsey initially reserved but slowly opened up his sound as he inquired about Sparafuciles methods. 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. 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). This conversation features leaders of the Dallas Symphony, including Ross . 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. There was a gentle quality to Ah, veglia, o donna, questo fiore, but his scrambling about the place expressed his fear and worry, which was slowly assuaged by Feolas loving presence. Ei sta sotto ai miei piedi! 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. NEWSLETTERS: Sign up to keep up with all the latest news, arts and culture, and TV highlights from KPBS. Rigoletto contains a wealth of melody, including one that is among the worlds most famous: La donna mobile. All the operas solos are rich with character insight and dramatic development. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, the Neubauer Family Foundation. 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. Carlos lvarez performs in the title role, alongside Lisette Oropesa and Liparit . Also this season at the Met, he conducts performances of Le Nozze di Figaro in January. 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 Quinn Kelsey, Benjamin Bernheim, Rosa Feola Shine Amidst Musical Chaos. 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. His most-recent work on Broadway includes Tootsie, Kiss Me Kate, and My Fair Lady. As the scene progressed, you could sense him losing hope, his sound diminuendoing. One of the things that is so incredible about Rigoletto within Verdis oeuvre is its pacing. The soloists were as good as you could hope for with this opera. Its handsome sets and costumes drew an appreciative gasp from the audience, and the revolving set kept the action moving smoothly. She also conducted the Met's original cast album of Akhnaten, which won the 2022 Grammy Award for Best Opera Recording. 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. His singing had rawness and pointedness, particularly as he poked fun at Ceprano and Monterone. David Frost is music producer and Peter Gelb is executive producer. 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. Digital support of The Met: Live in HD is provided by Bloomberg Philanthropies. 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. During the quartet, Bella figlia dellamore, Bernheim delivered another display of glorious legato singing. 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. Ascolta Patrice Munsel senza limiti su Qobuz e acquista gli album in Hi-Res 24-bit per una qualit sonora senza pari. dammi coraggio was sung with a glorious piano to forte crescendo that expressed Gildas fear and pain all at once. 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), Toll BrothersMetropolitan Opera International Radio Network. And considering that this is an opera that has been done time and again, it was refreshing to hear her test the limits of what this music could do. 2022-23 Season 2023-24 Season In Cinemas At Home On Demand Radio Television Events Tickets 2023 ABT Tickets On Demand Visit Health and Safety Requirements Getting Here Daytime Access Accessibility Dining at the Met Tours What to Expect Exhibitions Discover Videos Podcasts Artists Articles She brought a seemingly endless supply of energy to the evening, with swift tempi and impressively monolithic brass. GREAT PERFORMANCES AT THE MET: Rigoletto Preview, "Cortigiani, vil razza dannata" from "Rigoletto", Piotr Beczaa Performs "La donna mobile". Soprano Tamara Wilson portrays the virtuous duchess Elsa, falsely . He perhaps lacks the nastiness for the part, but more than makes up for it with an Act 2 aria of such tenderness and sincerity that I almost believed that the Duke could be in love with Gilda. On the repeat of the melody, she spun a similarly delicate legato line, her high B flats fluid and sparkling. Confusion, unless part of the thematic underpinning of the story, never makes for good storytelling. And while that is true, the turntable also becomes a distraction here at some key dramatic moments. The production of Verdi's final opera will star Mark Delavan as Sir John Falstaff, Brian Major as Ford, Rachel Blaustein as Nannetta, Mary Feminear as Alice Ford, Allegra De Vita as Meg Page, Catherine Martin as Mistress Quickly, Yi Li as Fenton, Mauricio Miranda as Dr. Caius, Joseph Michael Brent as Bardolfo, and Andrea Silvestri as Pistola. Cast: Joseph Paur,Frank Gerrish,Ivey Lloyd . Other performances are November 14, 17, 20mat, 26mat, 29, and December 3, 8, 11mat, 14, 17mat, 20, 23, and 29. 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. The singers, who were all on their A-game, often sounded a bit uncomfortable. 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. World premiere: Teatro La Fenice, Venice, 1851A dramatic journey of undeniable force, Rigoletto was immensely popular from its premiere and remains fresh and powerful to this day. 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. 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