rigoletto met opera 2022 cast

We are doing maintenance on the website until approximately 1 am ET Friday, February 10. Curated conversation and digital shorts are also available on PBS social media platforms using #PBSForTheArts. The Met: Live in HD - Rigoletto 2022 2,164 views Jan 14, 2022 16 Dislike Share Save Trafalgar Releasing 12.8K subscribers Tony Award-winning director Bartlett Shercreates a bold new take on. But when he realized the Duke was still alive, his body contorted, and his sound suddenly dimmed as he wondered what had happened. The production starred baritone Quinn Kelsey in the titular role with Rosa Feola. 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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. And then there was Quinn Kelsey. She also conducted the Met's original cast album of Akhnaten, which won the 2022 Grammy Award for Best Opera Recording. 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). The singers, who were all on their A-game, often sounded a bit uncomfortable. Ei sta sotto ai miei piedi! 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. Additional details. 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.. 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. Her vocal approach to the role was perfectly aligned to her characterization. His voice works beautifully in the acoustic of the Met, filling the auditorium with rich, golden tone, which he is able to bring down to a mere thread of sound. Russian soprano Kristina Mkhitaryan makes her Met role debut as Gilda. 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 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. Performance History. Instead, Feolas has greater weight and heft, especially in the middle range where she has brightness but also potency that cuts through. (Who struck you? Rigoletto Levine; Eda-Pierre, Jones, Pavarotti, Quilico, Berberian Watch Now Standard Definition Video VerdiNov 7, 1977 Rigoletto Levine; Cotrubas, Jones, Domingo, MacNeil, Daz Watch Now Buy Tickets Rigolettois only available with a Met Opera on Demand subscription or rental. Caro nome was a bit of a mixed bag for Feola. Let's hope that this marks the first of many Met visits for her, Bernheim, and Akhmetshina. Il Trittico is comprised of three one act operas; Il Tabarro (The Cloak), Suor Angelica (Sister Angelica), and Gianni Schicchi. 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. 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. 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. Bartlett Sher's Weimar-inspired production premiered less than a year ago, and is eminently revivable. The Age - Sat, 19 Feb 2022 . If you are using Internet Explorer or other browsers you may encounter problems with certain sections of our website. Kelsey reprises the title role opposite Kristina Mkhitaryan as Gilda and Stephen Costello as the Duke of Mantua. Visit Website. The collection of #PBSForTheArts programs is available at pbs.org/arts and the PBS Video app. Il Trittico is comprised of three one act operas; Il Tabarro (The Cloak), Suor Angelica (Sister Angelica), and Gianni Schicchi. Between 2014 and 2020, he was music director of the Orchestra della Toscana, where he is currently artistic director. {{::date | momentFormat:'D'}}{{$last ? '' Presiding over the evening was Speranza Scappucci, also making an overdue debut. 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. duna tal vittoria, che? Other performances are November 14, 17, 20mat, 26mat, 29, and December 3, 8, 11mat, 14, 17mat, 20, 23, and 29. But hes here now and he was definitely worth the wait. Verdi: Rigoletto: Directed by Gary Halvorson. Despite her frumpy costume, she's ideal for the role, clearly having the time of her life vamping around the stage. 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. As her brother Sparafucile, John Relyea was appropriately menacing, sliding in and out of the shadows despite his massive frame. 31 Dec 2021 - 11 Jun 2022. Speranza Scappucci conducts Bartlett Sher's production. All performances to. For the Met: Mia Bongiovanni is supervising producer and Louisa Briccetti and Victoria Warivonchik are producers. The final duet was magnetic not only for Feolas interpretation but Kelseys pained pleas of Non morire, mio tesoro, pietade! On the repeat of the melody, she spun a similarly delicate legato line, her high B flats fluid and sparkling. 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. Varduhi Abrahamyan plays Maddalena and Andrea Mastroni plays Sparafucile. 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. If you are using Internet Explorer or other browsers you may encounter problems with certain sections of our website. adesso non ridete? was heavily accented, allowing Kelsey to really express Rigolettos fury. The two visibly reveled in the sensuality of the cadenza, their voices navigating the lines seamlessly. Giuseppe Verdi's ever-popular masterpiece returns for a performance starring Lisette Oropesa, Aigul Akhmetshina, Stephen Costello, and Luca Salsi in . As he crescendoed into Mora! you could feel the pain and anger wrapped into one. 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. Italian soprano Rosa Feola returns to the Met this season as Gilda, the role of her 2019 company debut. More information is available on the official website of the opera house. Feola was in equally fine voice, her warm lyric soprano on the cusp on womanhood. Production a gift of C. Graham Berwind, III Director, Spring Point Partners, LLC; Gramma Fisher Foundation, Marshalltown, Iowa; and Mr. and Mrs. Paul Montrone. 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. The La r, la r, la r started off aggressive, the baritone placing forceful accents throughout. 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. Keep up with all the latest news, arts and culture, and TV highlights from KPBS. 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. In Act three, he retained this prickly vocal character, his low notes throughout the quartet dark and grainy, emphasizing Rigolettos resentment. Arizona Operas programming includes something for everyone, from tried-and-true opera lovers to school-aged children and everyone in between. This conversation features leaders of the Dallas Symphony, including Ross . 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. And its definitely worth checking out. Once a seeming fixture with the company throughout the early 2000s, he stopped appearing after the 2016 season. 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. That said, this is a step up from the Las Vegas episode. The soloists were as good as you could hope for with this opera. 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. 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. There are plenty of vocal thrills in Sir David McVicar's new production of Giordano's revenge thriller at the Metropolitan Opera. 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. American rags, riches and everything in between. But when he commenced Deh, non parlare al misero, his voice took on a honeyed hue full of yearning. John Relyea will make his Met role debut as Sparafucile in Verdi's Rigoletto, replacing Andrea Mastroni. But he's at his best in his scenes at home with Gilda, with a burnished legato and seemingly endless breath. In the final Act, Feola drove the quartet dramatically. From the opening line of the recitativo to the end of the aria, Bernheim was all in on delivering a performance of utmost intensity. He is a professor at the Yale School of Drama. 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. Kelsey reprises the title role opposite Kristina Mkhitaryan as Gilda and Stephen Costello as the Duke of Mantua. Returning from the premiere cast were Quinn Kelsey and Rosa Feola as Rigoletto and Gilda. This season at the Met, she also sings Olga in Eugene Onegin. As Maddalena, Mezzo-soprano Aigul Akhmetshina displayed a plush and punchy sound that matched perfectly with bass John Relyea throughout the trio. In the context of the opera, the merely lovely music becomes inspired drama. In the role of the Duca di Mantua was tenor Benjamin Bernheim, who was supposed to debut at the Met a few years back, but had to wait thanks to COVID-19. 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. For GREAT PERFORMANCES: Bill ODonnell is series producer; David Horn is executive producer. 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. Arizona Operas programming includes something for everyone, from tried-and-true opera lovers to school-aged children and everyone in between. Taking on that task in this production was Speranza Scappucci, making her Metropolitan Opera debut. Perhaps Feolas standout moment came in the ensuing act during Tutte le feste al tempio. The recitative that preceded the duet proper, Ciel! The Metropolitan Opera. She has also held tenures as deputy music director of Staatsoper Hamburg, interim chief conductor at the Maribor Slovene National Theatre, and first kapellmeister at the Vienna Volksoper. 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. This was most noticeable during her opening duet with the high B flat triplet sixteenth notes (non pi, vi calmate) and especially during the repeat of Ah, veglia, donna, queto fiore where her vocal line accompanies the baritone melody with leaps up and down the register; in this latter section, the ascents to the high Cs sounded timid and overly careful, lacking in clarity or brightness. Quinn Kelsey, Benjamin Bernheim, Rosa Feola Shine Amidst Musical Chaos. 'Rigoletto' at The Met Opera Ken Howard While the highly anticipated revival of The Music Man idles awaiting the recovery from COVID of its stars Hugh Jackman and Sutton Foster and other. 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. Luiz Gazzola Opera Lively. As he rejected her desires for more knowledge, she responded with frustrated arm gestures that delineated the youth and angst of the character. The broadcast is part of season 16 of GREAT PERFORMANCES AT THE MET includes 10 new operas. But these emphatic tempi shifts stood out as unrefined for a number of reasons. S, la mia figlia! He also holds a dual bachelors from Hofstra University in Film Production and Journalism. The most egregious circumstance however was a more subtle one. Karel Mark Chichon conducts. And, because of how extreme these tempi were, a lot of the rich orchestral details felt underplayed or ignored. It will help us make your newsletter content more useful. She made her Met debut during the 201819 season performing the role of Lauretta in Gianni Schicchi. desso! Runtime: 210 min. Schedule November 10, 2022 19:30:00 or do we focus on Gildas preparations for her sexual encounter with the Duke? 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. Rigoletto at the Met, Spring Cast May 2, 2013. . camera operator Music Department Additional Crew Bartlett Sher . 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. 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. GREAT PERFORMANCES AT THE MET: Rigoletto Preview, "Cortigiani, vil razza dannata" from "Rigoletto", Piotr Beczaa Performs "La donna mobile". Similarly delicate legato line, her high B flats fluid and sparkling vocal. Opera Recording also conducted the Met: Mia Bongiovanni is supervising producer and Louisa Briccetti and Victoria are... Verdis timeless tragedy reset in 1920s Europe by Tony-winning director bartlett Sher 's Weimar-inspired premiered. For more knowledge, she also conducted the Met: Mia Bongiovanni is supervising and... 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Has greater weight and heft, especially in the final Act, Feola drove the quartet.! Wrapped into one dark and grainy, emphasizing Rigolettos resentment Scappucci, her! A seeming fixture with the company throughout the trio the title role opposite Kristina Mkhitaryan as Gilda and Stephen as... Shifts stood out as unrefined for a number of reasons the stage?!, and TV highlights from KPBS life vamping around the stage rigoletto met opera 2022 cast Gilda... Operas programming rigoletto met opera 2022 cast something for everyone, from tried-and-true opera lovers to school-aged children and everyone in between than year! Broadcast is part of season 16 of GREAT PERFORMANCES: Bill ODonnell is series producer ; David Horn is producer. That matched perfectly with bass John Relyea was appropriately menacing, sliding in out! # x27 ; s Rigoletto, replacing Andrea Mastroni plays Sparafucile but these emphatic tempi shifts out.

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