There was a gentle quality to Ah, veglia, o donna, questo fiore, but his scrambling about the place expressed his fear and worry, which was slowly assuaged by Feolas loving presence. In the final Act, Feola drove the quartet dramatically. If her high E flat at the end of act two was a touch effortful, she more than made up for it with some ravishingly soft singing in the final scene. The climactic final B natural, and the preceding run, were delivered with bravura, the high note reverberating throughout the cavernous Met. Later this season, he sings Lenski in Eugene Onegin at the Met. Arizona Operas programming includes something for everyone, from tried-and-true opera lovers to school-aged children and everyone in between. 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. Mia colomba, lasciarmi non dei!These were sung with the softest piano singing that Kelsey managed the entire evening, his voice but a weeping thread of sound, each time growing softer and more heart-breaking, especially as he held her in his arms. The music says one thing, the stage says another. Arizona Operas programming includes something for everyone, from tried-and-true opera lovers to school-aged children and everyone in between. Rigoletto Ken Howard / Met Opera For the first time since the mid-1970s the Metropolitan Opera is performing into June after recently establishing an annual month-long hiatus during the. Even when they struggled with the tempo at the start of Addio addio, they barely missed a step, finding one another and surging forward. Please check if you entered the email address correctly. Audio from the December 31, 2021, as well as the January 4, 19, and June 8, 2022, performances will be streamed live on the Mets website, metopera.org. Soprano Nadine Sierra stars as the self-sacrificing courtesan Violettaone of opera's ultimate heroinesin Michael Mayer's vibrant production of Verdi's beloved tragedy. She made her debut at the Salzburg Festival in 2019, where she sang the role of Federica in a concert performance ofLuisa Miller. '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. 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. Ei sta sotto ai miei piedi! Kevin Puts'. 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. dammi coraggio was sung with a glorious piano to forte crescendo that expressed Gildas fear and pain all at once. But as the aria transitioned away from anger toward pleading, his voice correspondingly softened. The soloists were as good as you could hope for with this opera. And so we come to the end. 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. But he had a major triumph this year as the Grand Inquisitor in Don Carlos and then . 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. The broadcast is part of season 16 of GREAT PERFORMANCES AT THE MET includes 10 new operas. He captures the insouciant elegance of the opening scene, with neatly executed turns in Questa o quella, as well as he does the bravado swagger of the final act. 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. It all started even a few bars earlier with a honeyed rendition of Ogni saggezza chiudesi nel gaudio e nellamore, Bernheim bringing managing a spellbinding diminuendo up the F sharp in the second half of the phrase. Opera Met Opera's 2022-2023 Season Includes Rene Fleming and Kelli O'Hara in The Hours, Terence Blanchard's Champion, More. They offer both strong bones and flexibility . Rigoletto Music by Giuseppe Verdi Libretto by Francesco Maria Piave Premiered March 11, 1851, La Fenice (Venice, Italy) Verdi's Italian masterpiece opens Opera Colorado's 40th Anniversary Season, featuring unforgettable music, including the effervescent "La donna mobile." They felt detached from transitions into them, when they existed (like in Cortigiani). 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.. 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. We appreciate your patience. 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. Roger Hodgman, 53, is director of the Melbourne Theatre Company. January 18, 2022. These PDFs do not include cast changes that occurred after the program went to print. For GREAT PERFORMANCES: Bill ODonnell is series producer; David Horn is executive producer. 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! Industry Professionals. From there his voice grew even more tender, each ensuing phrase a caress as he reached out toward his hurting daughter. 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. 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. Ah! SAS Performing Arts Concert Opera presents the only New York City performance of the Puccini work Il Trittico. She recently made her debut at Covent Garden as Micala in Carmen. As the scene progressed, you could sense him losing hope, his sound diminuendoing. One of the things that is so incredible about Rigoletto within Verdis oeuvre is its pacing. Start Free 7-Day Trial Rent for $4.99 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. adesso non ridete? was heavily accented, allowing Kelsey to really express Rigolettos fury. Review: Amid Omicron, the Met Opera Opens a Weimar 'Rigoletto'. The Metropolitan Opera has announced a cast change for its spring run of "Rigoletto.". Great Performances Season 16 features Metropolitan Opera stars Angel Blue, Isabel Leonard, Lise Davidsen, Ren Pape, Matthew Polenzani, Sonya Yoncheva, Elna Garana and more. Also making her debut was the young mezzo Aigul Akhmetshina as Maddalena. The collection of #PBSForTheArts programs is available at pbs.org/arts , PBS.org, and the PBS Video App, available on iOS, Android, Roku streaming devices, Apple TV, Android TV, Amazon Fire TV, Samsung Smart TV, Chromecast and VIZIO. Other recent highlights include Lauretta in Gianni Schicchi at the Bavarian State Opera, Norina in Don Pasquale and Adina in LElisir dAmore at La Scala, Fiorilla in Il Turco in Italiain Zurich, and Ilia in Idomeneo and Micala in Carmen in Rome. Polish tenor Piotr Beczaa reprises his portrayal of the Duke of Mantua, the role of his Met debut in 2006. Keep up with all the latest news, arts and culture, and TV highlights from KPBS. The La r, la r, la r started off aggressive, the baritone placing forceful accents throughout. A seven-time Tony Awardwinner, her work has been seen on Broadway in productions such as My Fair Lady, Oslo, The King and I, Golden Boy, How to Succeed in Business Without Really Trying, Born Yesterday, South Pacific, and The Light in the Piazza. As he rejected her desires for more knowledge, she responded with frustrated arm gestures that delineated the youth and angst of the character. 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. Tenor Stephen Costello is her self- centered lover Alfredo, alongside baritone Luca Salsi as his disapproving father, and Maestro Daniele Callegari on the podium. Other aspects work better, including the dark alley scene between Rigoletto and Sparafucile, which also makes an argument for the less is more principle. 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. He made his Met debut in 1993 with Elijah Moshinskys production of Ariadne auf Naxos, which also returns this season. He has been nominated for 13 Tony Awardswinning in 2008 for South Pacific and 1998 for The Lion Kingin a career featuring more than 50 productions on Broadway. Pretty but Pointless. Karel Mark Chichon conducts. During the ensuing scene with Gilda, he was fierce in his defense of Gilda, staring down the other men and ordering them out. Previous GREAT PERFORMANCES programs include "Romeo & Juliet" from the National Theatre, "The Arts Interrupted," "Reopening: The Broadway Revival" and "The Conductor." But when Gilda falls in love with the man her father loathes, Rigoletto's thirst for vengeance and desperate attempt to stop fate bring about his own tragic . Join the DSO Women's History Month Celebration: Join the launch of the DSO's virtual Women in Classical Music in Conversation series on Wednesday, March 1, at 12:00 pm, which will provide a community forum and build upon the relationships formed at the symposium. 29 des. 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. She displayed an elegant legato line in her Quanto affetto, her voice crescendoing as the line rose to first a G natural and then a high B flat a few bars later. She brought a seemingly endless supply of energy to the evening, with swift tempi and impressively monolithic brass. 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. It will help us make your newsletter content more useful. 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. 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 fermata high A natural a few bars featured a beautiful portamento down an octave before the soprano took her time before even more delicate piano singing on lass in ciel, each one softer and slower than the one before, Gilda fading slowly while drawing the audience closer and closer to her every step of the way. Italian soprano Rosa Feola returns to the Met this season as Gilda, the role of her 2019 company debut. 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. When you have a tenor like this cast had, the choice is made that much more difficult. In the context of the opera, the merely lovely music becomes inspired drama. Speranza Scappucci conducts Bartlett Sher's production. And its definitely worth checking out. 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. This was a performance to remember from Kelsey, who drew you in with a truly immersive and powerful characterization. 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