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. Metropolitan Opera House, . His Met repertory has also included Rodolfo in Luisa Miller and La Bohme, Vaudmont in the company premiere of Iolanta, Lenski in Eugene Onegin, the title role of Faust, Edgardo in Lucia di Lammermoor, the Chevalier des Grieux in Manon, Gustavo in Un Ballo in Maschera, and Maurizio in Adriana Lecouvreur. Whats left to say, but that vocally this was some of the finest casts that the Met has assembled for a production this season. The best in live events, streams, reviews and articles recommended by our editors, delivered to your inbox weekly. Production title: Rigoletto - The Metropolitan Opera (2021-2022) Creation date: 02/06/2019 Work - Composer: Rigoletto - Giuseppe Verdi Opera house: The Metropolitan Opera. 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. Review: Amid Omicron, the Met Opera Opens a Weimar 'Rigoletto'. desso! He also holds a dual bachelors from Hofstra University in Film Production and Journalism. Last night's affair proved this entirely wrong no fewer than three Met debutants galvanized this performance into one of the best performances ofRigoletto I've heard in years. O gioia! You could feel the excitement of this crescendo, exploding with vibrant sound on O gioia and then once again a few bars later on Allonda!. 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. ****1 A fine showing for the 1884 Italian version of Don Carloat the Met Robert Levine, 9th November When you have a tenor like this cast had, the choice is made that much more difficult. Il Trittico is comprised of three one act operas; Il Tabarro (The Cloak), Suor Angelica (Sister Angelica), and Gianni Schicchi. 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?) 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? For some, the movement allows for a shifting of place and time throughout (like during the cabaletta Possente amor mi chiama where we see Gilda getting prepared for the Dukes arrival) and thus creates visual momentum and variety. Mozart's Idomeneo. 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. On the repeat of the melody, she spun a similarly delicate legato line, her high B flats fluid and sparkling. 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. Later in that same aria, the Cor anglais, which plays in duet with the baritone, sounded off during the entrance to Miei signori, perdono. She also came in so strongly on Io vo mia figlia that Kelseys mia figlia, the key to that parola scenica was inaudible. 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. This product includes GeoLite2 data created by MaxMind, available from, Guilty pleasures: Yoncheva stars in a new, A fine showing for the 1884 Italian version of, To add a comment, please sign in or register. Additional details. Directed for the screen by Gary Halvorson. Verdi doesnt waste a moment and every single note in the piece plays a crucial role in building its tension and tragedy. American set designer Michael Yeargan has designed more than a dozen productions for the Met, including the Gershwins Porgy and Bess, Romo et Juliette, LElisir dAmore, Les Contes dHoffmann, Le Comte Ory, and Il Barbiere di Siviglia. Roger Hodgman, 53, is director of the Melbourne Theatre Company. John Dexter's production, now among the longest-serving in the company's repertory, remains a marvel of simple, effective storytelling. 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. 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. Home Performances Rigoletto. Bartlett Shers new production, which opened on New Years Eve last year, isnt that much more revelatory in terms of presenting new ideas or adding newfound depth to the classic story. There are plenty of vocal thrills in Sir David McVicar's new production of Giordano's revenge thriller at the Metropolitan Opera. Too often, these are underrehearsed affairs, with unimaginative casting and uninspired direction. 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. Its an intimate passage and one of Verdis most radical (at the time). In Act three, he retained this prickly vocal character, his low notes throughout the quartet dark and grainy, emphasizing Rigolettos resentment. 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. And suddenly our attention shifts away from Rigolettos truly private and essential CHARACTER moment, to something else. 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). 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. Gothic horror, magic and romance at the 2023 Savonlinna Opera Festival, At the helm of the world's most expensive opera house: Met General Manager Peter Gelb, From our French editor: ode to the diehards, Guilty pleasures: Yoncheva and Beczaa star in a new. This was a performance to remember from Kelsey, who drew you in with a truly immersive and powerful characterization. American conductor Karen Kamensek is currently leading Philip Glass's Akhnaten at the Met, the production she made her company debut with in 2019. American rags, riches and everything in between. For more information, visit metopera.org. 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? Let's hope that this marks the first of many Met visits for her, Bernheim, and Akhmetshina. The Act three trio was a mess of sounds without any real grounding and during the final duet, Lass in ciel, the violin syncopations were so accented as to sound plodding and heavy that they didnt fit into the general soundscape of the moment, even disrupting it. One might argue that we live in a moment of multi-tasking and that this should be a no-brainer, but breaking the spell of a performer like Quinn Kelsey in the middle of a character-defining scene is unfortunate, if not disrespectful. 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. In the ensuing scene with Feola, he refused to meet her gaze throughout, drawing her frustration, even becoming a bit harsh as she insisted on hearing her story. During his time at Fordham, he studied abroad at the Jagiellonian University in Poland. This video really should have had a fourth example, though. Its handsome sets and costumes drew an appreciative gasp from the audience, and the revolving set kept the action moving smoothly. Two artists make notable Met debuts: the tenor Benjamin Bernheim as the Duke of Mantua and the conductor Speranza Scappucci in the pit. From her feverish rushing down the stairs to greet her father, you could sense a character full of energy and aspiration. That already tells the audience to shift its focus to whats about to happen. 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. She has also sung Gilda at the Bavarian State Opera, Lyric Opera of Chicago, Ravenna Festival, and in Rome, Zurich, Turin, and Savona. 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 he rejected her desires for more knowledge, she responded with frustrated arm gestures that delineated the youth and angst of the character. 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 Met rings in the new year with the gala premiere of a bold new take on Verdi's timeless tragedy from Bartlett Sher. There are plenty of vocal thrills in Sir David McVicar 's new production of Giordano revenge. Studied abroad at the Metropolitan Opera our attention shifts away from Rigolettos private! 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