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. Other notable roles include Ramfis in Aida in Verona and Zurich, Giorgio Germont in La Traviata at La Scala, Colline in La Bohme in Venice, and Sarastro in Die Zauberflte at the Hamburg State Opera. 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. 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. He earned a Tony Award for directing South Pacific in 2008 and received Tony nominations for his Broadway productions of Golden Boy, Joe Turners Come and Gone, Awake and Sing!, and The Light in the Piazza. The Metropolitan Opera ended its mid-winter hiatus with the much anticipated premiere of Franois Girard's production of Wagner's Lohengrin on Sunday afternoon. But the ensuing Act is where her commitment to the character was at its most powerful. Rigoletto | Opera | Voorstellingen, schema en kaartjes | Gran Teatre del Liceu | Bekijk meer informatie op Operabase Varduhi Abrahamyan makes her Met debut as Maddalena, and Andrea Mastroni is Sparafucile. The Met rings in the new year with the gala premiere of a bold new take on Verdi's timeless tragedy from Bartlett Sher. Mezzo-soprano Isabel Leonard hosts. But at the very least its coherent narratively. 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. 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. 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. The Age - Thu, 31 Oct 2019 . 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.. Skylark Opera Theatre returns to stage this Spring with the regional premiere of Jake Heggie's Three Decembers. In Act three, the tenor took things up a notch, delivering a spotless rendition of La Donna mobile, each note of the dotted rhythm clear and articulated with vibrant sound. mia Gilda was spoken, the effect expressing how empty Rigoletto feels in this moment. But the rest of the duet was gloriously sung, with the sopranos fuller sound matching baritone Quinn Kelseys powerful baritone. But then the turntable starts to move. Directed for the screen by Gary Halvorson. The La r, la r, la r started off aggressive, the baritone placing forceful accents throughout. Wagner's soaring masterpiece makes its triumphant return to the Met stage after 17 years. And, because of how extreme these tempi were, a lot of the rich orchestral details felt underplayed or ignored. These PDFs do not include cast changes that occurred after the program went to print. 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. Our website has been optimized for viewing in the latest versions of Chrome, Firefox, and Safari. 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. Revivals of operatic warhorses like Verdi's Rigoletto can be hit or miss at an opera house the size of the Metropolitan Opera. During his time at Fordham, he studied abroad at the Jagiellonian University in Poland. In their Met debuts, Yulia Matochkina sings Maddalena, and Ante Jerkunica sings Sparafucile. After opening with hushed pianissimo on the opening line, his voice exploded with intensity and desperation before resorting back to another soft repetition of Quel vecchio maledivami! Bitterness ensued during O rabbia! 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. Karel Mark Chichon conducts. Our website has been optimized for viewing in the latest versions of Chrome, Firefox, and Safari. 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. 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. and the castwhich includes eljko Lui, Diana Damrau, Piotr Beczala . Desperation took over with the subsequent phrases aggressive, accented, and frantic. American baritone Quinn Kelsey returns to the Met this season, making his company role debut in the title role of Rigoletto. In the final scene of the opera, he stood erect and resolute as he prepared to take the Dukes body, his voice growing and growing as he proclaimed Quest un buffone, ed un potente questo! Later this season, he will sing Wotan in Wagner's Das Rheingold at English National Opera, King Marke in Act III of Wagner's Tristan und Isolde in concert with the Deutsches Symphonie-Orchester Berlin, and Hunding in Wagner's Die Walkre in Naples. stage director See also 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. Yet, somehow, Andante mosso agitato was decidedly faster than the Allegro Vivo. If you are using Internet Explorer or other browsers you may encounter problems with certain sections of our website. Rigoletto (Verdi) The Abduction from the Seraglio (Mozart) The Merry Wives of Windsor (Nicolai) La bohme (Puccini) 1993-1994 Season. Videos. This first came into prominence during the operas big concertato moment, Ah, siempre tu spingi lo scherzo allestremo where the tempo ramped up to chaotic effect for the singers; it took them a few bars to find themselves back in synch with the conductor. A new 'guide' can help. Visit Website. 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. Elsewhere this season, he sings Sarastro at the Vienna State Opera. From there his voice grew even more tender, each ensuing phrase a caress as he reached out toward his hurting daughter. '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. 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. 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. Its an intimate passage and one of Verdis most radical (at the time). And suddenly our attention shifts away from Rigolettos truly private and essential CHARACTER moment, to something else. 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. Our website has been optimized for viewing in the latest versions of Chrome, Firefox, and Safari. Quinn Kelsey, Benjamin Bernheim, Rosa Feola Shine Amidst Musical Chaos. A new cast brings the Met's Rigolettoto life Kevin W Ng, 11th November Three major Metropolitan Opera debuts bring excitement and vocal glamour to this revival of Bartlett Sher's Rigolettoproduction. She has also sung Gilda at the Bavarian State Opera, Lyric Opera of Chicago, Ravenna Festival, and in Rome, Zurich, Turin, and Savona. Let's hope that this marks the first of many Met visits for her, Bernheim, and Akhmetshina. Met Opera | December 17, 2022. 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!. 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. When you have a tenor like this cast had, the choice is made that much more difficult. 2022 | 19:00 Rigoletto, Verdi, The Metropolitan Opera | New York City, United States ti. English conductor Karel Mark Chichon made his Met debut in 2016 conducting Madama Butterfly, returning in 2020 for performances of La Traviata. 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. 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). Il Trittico is comprised of three one act operas; Il Tabarro (The Cloak), Suor Angelica (Sister Angelica), and Gianni Schicchi. 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. 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. Studio: The Metropolitan Opera. 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. She recently made her debut at Covent Garden as Micala in Carmen. 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. But the finest singing of the evening came from Benjamin Bernheim, making his long-overdue Met debut. She has performed many roles with the Paris Opera, including Ottone in LIncoronazione di Poppea, Isabella in LItaliana in Algeri, Ulrica in Un Ballo in Maschera, and the title role of Carmen and Olga in Eugene Onegin. A second run of performances in the spring features baritone Ludovic Tezier, soprano Kristina Mkhitaryan, and tenor Stephen Costello, conducted by Karel Mark Chichon. His first Gilda! You could feel the fear, the shame, the pain, and in one brief moment, the anger of what had happened to her. At the climactic La Maledizione he interpolated a high G flat and A flat, both delivered ferociously to end the night. But he had a major triumph this year as the Grand Inquisitor in Don Carlos and then . His phrasing of il sol dellanima featured a polished legato line, each phrase building from the previous one before blossoming into a sublime high B flat on per te that then melted into an equally impassioned diminuendo on the ensuing dinvidia agli uomini sar per te. The return of this vocal ascent was somehow even more potent than the previous one with the diminuendo even stronger, a sign of the vocal flexibility that Bernheim displayed throughout. Digital support of The Met: Live in HD is provided by Bloomberg Philanthropies. Directors love Wagner's operas, which infuse the suggestive sketchiness of parables into clearly conceived plots and characters. 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. The restatement of the main melody was delivered with an even more intimate and sensual piano. Metropolitan Opera House, . Grinnell College will stream "Rigoletto" on Jan. 29 as part of the Met's 2021-22 Live in HD season. Croatian bass Ante Jerkunica makes his Met debut as Sparafucile this season. 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. 2010-2023 Bachtrack Ltd. All rights reserved. Arizona Operas programming includes something for everyone, from tried-and-true opera lovers to school-aged children and everyone in between. Discovered and promoted by Valery Gergiev, she began her career at the Mariinsky Theatre, collaborating . The character-driven chamber opera, a collaboration between acclaimed American composer Heggie and librettist Gene Scheer, based on a script by Terrence McNally, will be directed by Gary Briggle and presented at the Jungle Theater. 2022 | 20:00 Rigoletto, Verdi, The Metropolitan Opera | New York City, United States fr. 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. SAS Performing Arts Concert Opera presents the only New York City performance of the Puccini work Il Trittico. 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. 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