The restatement of the main melody was delivered with an even more intimate and sensual piano. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, the Neubauer Family Foundation. In their Met debuts, Yulia Matochkina sings Maddalena, and Ante Jerkunica sings Sparafucile. More information is available on the official website of the opera house. His role in Italys cultural and political development has made him an icon in his native country. He responded to Cepranos Chhai di nuovo, buffon? with a perfect, angry imitation, placing a very strong accent on buffon and then adding a sarcastic quality to pi noioso voi siete. The ensuing La r grew more connected, adding a sense of desperation and yearning, each subsequent one sounding more like a man in pain. 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). Feola was in equally fine voice, her warm lyric soprano on the cusp on womanhood. Met Opera | April 15, 2023. Often times, she was very flexible and allowed the lines to bend and flow organically, but more often than not, those moments would be followed by shockingly fast tempi that threatened to derail the entire enterprise. 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 This opera, like many of the composers greatest, moves. Italian conductor Daniele Rustioni returns to the Met after previously conducting Aida in 2017. The Tony Award-winning director resets the opera's action in 1920s Europe . and the castwhich includes eljko Lui, Diana Damrau, Piotr Beczala . 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. A second run of performances in the spring features baritone Ludovic Tezier, soprano Kristina Mkhitaryan, and tenor Stephen Costello, conducted by Karel Mark Chichon. The opera, which remains as timely as ever, is undoubtedly one of Verdis and the entire canons greatest. 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For GREAT PERFORMANCES: Bill ODonnell is series producer; David Horn is executive producer. Kelsey reprises the title role opposite Kristina Mkhitaryan as Gilda and Stephen Costello as the Duke of Mantua. GREAT PERFORMANCES AT THE MET "Rigoletto" premieres Friday, June 17 on PBS as part of #PBSForTheArts. 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 | Opera | Voorstellingen, schema en kaartjes | Gran Teatre del Liceu | Bekijk meer informatie op Operabase 2022 | 19:00 Rigoletto, Verdi, The Metropolitan Opera | New York City, United States ti. And when she exited the Dukes room, she moved about the space slowly, her eyes downcast, searching for a place to be alone. Then there were tempo shifts that seemed to come out of nowhere, breaking the flow of the momentum and jerking you out of the action; moreover, they often felt out of control and unstable, rushing forward initially and then calming down. Speranza Scappucci conducts Bartlett Sher's production. 2010-2023 Bachtrack Ltd. All rights reserved. Solo per me linfamia, instead of bitter and reproachful, sounded sorrowful and hurt in its approach. If you are using Internet Explorer or other browsers you may encounter problems with certain sections of our website. Croatian bass Ante Jerkunica makes his Met debut as Sparafucile this season. From his opening Questa o quella, he exuded vocal confidence, every note coming through crystal clear, every phrase elegantly thrown off, emphasizing the carefree nature of the Duke. Throughout Feola opted for a more connected vocal line, with the opening melodys (which starts, essentially, with a descending E major scale) eighth rests less pronounced. 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. She has conducted Verdi's Rigoletto at the Hamburg State Opera, Theater Freiburg, and Malm Opera. Is it possible to have a minor success on every level? 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. As her brother Sparafucile, John Relyea was appropriately menacing, sliding in and out of the shadows despite his massive frame. 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. As he remarked on the Duke, his voice became pointed; one could feel the anger boiling over, his voice growing in strength over the tremolo strings. The arias tempo marking is Andante mosso agitato while the preceding tempo indication is a faster one Allegro vivo. But the ensuing Act is where her commitment to the character was at its most powerful. But for all this chaos, it is worth noting that in moments where the singers sounded uncomfortable with her tempi, Scappucci was quick to adjust to them, allowing them to bring their best to the performance. Giuseppe Verdi's ever-popular masterpiece returns for a performance starring Lisette Oropesa, Aigul Akhmetshina, Stephen Costello, and Luca Salsi in . 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. The announcement was made via the company's social media page and no reason was given for the replacement. and purity of tone. 2022 | 20:00 Rigoletto, Verdi, The Metropolitan Opera | New York City, United States fr. 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. 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. camera operator Music Department Additional Crew Bartlett Sher . 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. Taking on that task in this production was Speranza Scappucci, making her Metropolitan Opera debut. A Verdi favorite, Rigoletto is set in the rich and decadent Italian Renaissance and features some of opera's most famous arias! The two visibly reveled in the sensuality of the cadenza, their voices navigating the lines seamlessly. Directors love Wagner's operas, which infuse the suggestive sketchiness of parables into clearly conceived plots and characters. But her experience as an operatic conductor was in full evidence, shading the orchestra and stretching the tempo like a true master. Check out the latest photos and bios of the cast and filmmakers of The. For up-to-date casting go back to the previous page. ****1 A fine showing for the 1884 Italian version of Don Carloat the Met Robert Levine, 9th November 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. A new cast brings the Met's Rigolettoto life John Relyea (Sparafucile), Benjamin Bernheim (Duke of Mantua) and Aigul Akhmetshina (Maddalena) Curtis Brown | Met Opera Benjamin Bernheim (Duke of Mantua) and Rosa Feola (Gilda) Curtis Brown | Met Opera Quinn Kelsey (Rigoletto) Curtis Brown | Met Opera Wagner's soaring masterpiece makes its triumphant return to the Met stage after 17 years. Artists. David Frost is music producer and Peter Gelb is executive producer. Roger Hodgman, 53, is director of the Melbourne Theatre Company. 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. Genre: Opera. For further details on Rigoletto, including casting by date, please click here. Mozart's Idomeneo. Opera is thriving. Soprano Tamara Wilson portrays the virtuous duchess Elsa, falsely . 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. Review: Amid Omicron, the Met Opera Opens a Weimar 'Rigoletto'. ) right before the final duet was almost howled, its effect spine-chilling. Ah! 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. 17 des. Audience. The final duet was magnetic not only for Feolas interpretation but Kelseys pained pleas of Non morire, mio tesoro, pietade! He remarks how both men are similarly toxic, a comparison that the opera continually draws between all the male characters as the story develops. 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. 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. A dream cast assembles for Strauss's grand Viennese comedy. Other performances are November 14, 17, 20mat, 26mat, 29, and December 3, 8, 11mat, 14, 17mat, 20, 23, and 29. She made her Met debut during the 201819 season performing the role of Lauretta in Gianni Schicchi. 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