rigoletto met opera 2022 cast

Ella mi fu rapita is the tenors big moment, not only vocally, but also dramatically, allowing for a moment of potential contrast and depth. Italian soprano Rosa Feola returns to the Met this season as Gilda, the role of her 2019 company debut. 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. 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. With his big shoulders, big jaw, and his great, shiny Half Dome of a head, Kelsey gives Rigoletto immense presence even before he opens his mouth. If you are using Internet Explorer or other browsers you may encounter problems with certain sections of our website. For further details on Rigoletto, including casting by date, please click here. Cast: Quinn Kelsey - Rigoletto Rosa Feola - Gilda Piotr Beczala - Duke of Mantua Craig Colclough - Monterone Varduhi Abrahamyan - Maddalena Andrea Mastroni - Sparafucile Scott Sully - Borsa. 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. Kevin Puts'. 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. Home Performances Rigoletto. Marullo, signore, tu chhai lalma gentil come il core retained some of the edge and accents, with the final ohime of the section sounding bitter, almost as if Rigoletto were disgusted at having to plead with these vil razza for help. Additional details. Her costume designs are currently featured in the new Broadway production of Moulin Rouge!. 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. For instance, the production included an elevator-like structure in the center of the stage that moved up and down in . But at the very least its coherent narratively. 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. 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 moment where this kind of tempo whiplash stood out more was right before Cortigiani, Rigolettos other big solo moment. Instead, Feolas has greater weight and heft, especially in the middle range where she has brightness but also potency that cuts through. Giuseppe Verdi's Rigoletto December 31, 2021 January 4, 7, 11, 15e, 19, 22e, 25, & 29m, 2022 May 28e, 2022 June 1, 4e, 8, & 11e, 2022 Creative Team Production: Bartlett Sher Scenic Designer: Michael Yeargan Costume Designer: Catherine Zuber Lighting Designer: Donald Holder Cast Conductor: Daniele Rustioni / Karen Kamensek Caro nome was a bit of a mixed bag for Feola. This choice also fit in nicely with the coloratura, generating a fluidity throughout. 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. With Varduhi Abrahamyan, Piotr Beczala, Rosa Feola, Quinn Kelsey. For more information, visit metopera.org. This opera, like many of the composers greatest, moves. Bartlett Sher's Weimar-inspired production premiered less than a year ago, and is eminently revivable. Cortigiani had its tempo issues and they seemed to overwhelm early on, but he still managed to make the most of the situation, his voice powerful and present, emphasizing Rigolettos anger. It took but a moment before she was rushing away down the stairs. Her body was full of fear and confusion as she ran about the turning table, women racing after her to undress her. A new 'guide' can help. After a lauded premiere on New Years Eve 2021, Bartlett Shers Art Decoinspired production of Verdis ever-popular masterpiece returns for its first revival. But he's at his best in his scenes at home with Gilda, with a burnished legato and seemingly endless breath. 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. Rigoletto Worldwide Broadcasts in Cinema, Radio, and Online. This video really should have had a fourth example, though. 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. Of course, Scappucci has license to interpret those tempo indications as she sees fit. She is currently a studio artist at Moscows Bolshoi Theatre, which she joined after singing at the Galina Vishnevskaya Theatre Studio. Despite some strange costuming, she did her utmost to provide intricate characterization and development. The La r, la r, la r started off aggressive, the baritone placing forceful accents throughout. 2022-12-22 ANNOUNCEMENT Ekaterina Sannikova signs with TACT for General Management 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. 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. A new opera by composer Eric Moe and librettist Rob Handel, The Artwork of the Future, will have its world premiere in a production by Fresh Squeezed Opera in five performances at HERE Performing Arts Center in SoHo on May 13, 14, 16, 18, and 19, 2023. Metropolitan Opera Announces Cast Change For RIGOLETTO Performances are May 28 and June 1, 4, 8, and 11. by Stephi Wild May. His entire duet with Rigoletto in Act one was fascinating, the bass digging into his thick and earthy tone with each phrase. 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). Its virtually been in and out of the stage throughout the years, but I stopped attending it over the past few years (I hadnt seen the opera at the Met since before the launch of OperaWire in late 2016). Check out the latest photos and bios of the cast and filmmakers of The. Victor Hugos 1832 play Le Roi sAmuse, set at the court of King Franois I of France (circa 1520), is a blatant depiction of depraved authority. Our website has been optimized for viewing in the latest versions of Chrome, Firefox, and Safari. April 5, 2022 at 11 a.m. Winter Park Library and Events Center 1052 W Morse Boulevard | Winter Park, FL 32789 . He made his Met debut with a production of Il Barbiere di Siviglia during the 200607 season, followed by stagings of Les Contes dHoffmann, LElisir dAmore, Otello, and Romo et Juliette, as well as the company premieres of Le Comte Ory and Nico Muhlys Two Boys. The 2009 recipient of the Met's Beverly Sills Artist Award, he made his company debut in 2000 as Alidoro in Rossini's La Cenerentola, followed by performances as Masetto in Mozart's Don Giovanni, Colline in Puccini's La Bohme, the Nightwatchman in Wagner's Die Meistersinger von Nrnberg, Vodnk in Dvok's Rusalka, Figaro in Mozart's Le Nozze di Figaro, Escamillo in Bizet's Carmen, and Gesler in Rossini's Guillaume Tell. 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. Perhaps Feolas standout moment came in the ensuing act during Tutte le feste al tempio. The recitative that preceded the duet proper, Ciel! 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 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. Verdi's Rigoletto. He also holds a dual bachelors from Hofstra University in Film Production and Journalism. 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. 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. He remarks how both men are similarly toxic, a comparison that the opera continually draws between all the male characters as the story develops. 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. Met Opera | December 17, 2022. American conductor Karen Kamensek is currently leading Philip Glass's Akhnaten at the Met, the production she made her company debut with in 2019. 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. More information is available on the official website of the opera house. American rags, riches and everything in between. The final duet was magnetic not only for Feolas interpretation but Kelseys pained pleas of Non morire, mio tesoro, pietade! 2022 Metropolitan Opera Wiener Staatsoper; 2021 Royal . 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. Rigoletto, a cursed court jester of the lustful Duke of Mantua, obsessively protects his daughter, Gilda. She recently made her debut at Covent Garden as Micala in Carmen. This original and thrilling production is led by Metropolitan Opera conductor Gregory Buchalter and directed . Far more traditional in tone than Michael Mayer's groovy 2013 Las Vegas Rat Pack Rigoletto, this staging . They felt detached from transitions into them, when they existed (like in Cortigiani). This season at the Met, she also sings Olga in Eugene Onegin. 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. The HD broadcasts are supported by Toll Brothers, America's luxury home builder. 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. Her vocal approach to the role was perfectly aligned to her characterization. by Stephi Wild Oct. 25, 2022. These PDFs do not include cast changes that occurred after the program went to print. Abbonamento a partire da 12,50/mese For GREAT PERFORMANCES: Bill ODonnell is series producer; David Horn is executive producer. In the final Act, Feola drove the quartet dramatically. 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. Speranza Scappucci conducts Bartlett Sher's production. 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. American tenor Stephen Costello reprises his portrayal of the Duke of Mantua, a role he previously performed in 2015 at the Met. The Vienna State Opera's production of Rigoletto did its job, proving an appropriately grim staging for a very dark opera. 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. He has appeared at many of the worlds leading opera houses and festivals, including Deutsche Oper Berlin, the Vienna State Opera, Lyric Opera of Chicago, San Francisco Opera, Washington National Opera, and the Salzburg Festival. When Giovanna opened the door for her, she rushed out with tremendous excitement and you could feel the relief as she stepped outside into freedom, her arms spread wide to receive it; it was a truly visceral moment to behold. Directed for the screen by Gary Halvorson. Then theres some bizarre choices like the sudden abstraction during the Act three trio where the lights go red inside the inn and Gilda has a seeming out of body experience? Our website has been optimized for viewing in the latest versions of Chrome, Firefox, and Safari. The second run of Bartlett Sher's new production of Verdi's Rigoletto stars baritone Quinn Kelsey in the title role, soprano Erin Morley as Gilda, mezzo-soprano Yulia Matochkina as Maddalena, tenor Stephen Costello as the Duke of Mantua, and bass Ante Jerkunica as Sparafucile. 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. That said, this is a step up from the Las Vegas episode. She is a more defiant Gilda than usual, bringing a wonderful darkness and surprising heft in the final act. The ensuing stanza was sung with a similar gentleness, but you could feel that she was taking a bit more time with it, thus amplifying the intensity so that the second climax to the high A, despite a similar dynamic phrasing, had a punchier, emotional impact and set up the increased agitation of what follows. But the rest of the duet was gloriously sung, with the sopranos fuller sound matching baritone Quinn Kelseys powerful baritone. But hes here now and he was definitely worth the wait. 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. Certain sections of our website has been optimized for viewing in the New Broadway production Verdis. Bass digging into his thick and earthy tone with each phrase premiere New... Boulevard | Winter Park Library and Events center 1052 W Morse Boulevard | Winter Park, FL 32789 Pack... More traditional in tone than Michael Mayer & # x27 ; s luxury home builder Garden as in... 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