Croatian bass Ante Jerkunica makes his Met debut as Sparafucile this season. When the Page arrives, he recovered his strength, his voice growing metallic and accented, almost speaking some of the notes. Polish tenor Piotr Beczaa reprises his portrayal of the Duke of Mantua, the role of his Met debut in 2006. Mezzo-soprano Isabel Leonard hosts. in the middle of his career. His first Gilda! 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. But the ensuing Act is where her commitment to the character was at its most powerful. Premieres Friday, June 17, 2022 at 9 p.m. on KPBS 2 / On demand with PBS Video App. stage director See also Directors love Wagner's operas, which infuse the suggestive sketchiness of parables into clearly conceived plots and characters. His Chi tha colpita? 2022 | 19:00 Rigoletto, Verdi, The Metropolitan Opera | New York City, United States ti. Feola was in equally fine voice, her warm lyric soprano on the cusp on womanhood. Arizona Operas programming includes something for everyone, from tried-and-true opera lovers to school-aged children and everyone in between. The Metropolitan Opera has looked to its deep bench of replacement singers to survive the Omicron surge, including the baritone Michael Chioldi, who has jumped into the title role of Verdi's. Too often, these are underrehearsed affairs, with unimaginative casting and uninspired direction. They met in 1979 in Rabe's home town of Vancouver, married five years . 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. Our website has been optimized for viewing in the latest versions of Chrome, Firefox, and Safari. Jen has worked at KPBS since 2000. The Met Operas faithfulness to Michael Mayers increasingly unnerving Las Vegas production which, once youve experienced the saturation from the spectacle itself, comes off as rather empty in its storytelling. For the Met: Mia Bongiovanni is supervising producer and Louisa Briccetti and Victoria Warivonchik are producers. Artists. 2022 | 13:00 Rigoletto, Verdi, Whats left to say, but that vocally this was some of the finest casts that the Met has assembled for a production this season. She also conducted the Met's original cast album of Akhnaten, which won the 2022 Grammy Award for Best Opera Recording. and purity of tone. Her body was full of fear and confusion as she ran about the turning table, women racing after her to undress her. 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. And while that is true, the turntable also becomes a distraction here at some key dramatic moments. 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. 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). His entire duet with Rigoletto in Act one was fascinating, the bass digging into his thick and earthy tone with each phrase. Desperation took over with the subsequent phrases aggressive, accented, and frantic. But her experience as an operatic conductor was in full evidence, shading the orchestra and stretching the tempo like a true master. Italian soprano Rosa Feola returns to the Met this season as Gilda, the role of her 2019 company debut. Grinnell College will stream "Rigoletto" on Jan. 29 as part of the Met's 2021-22 Live in HD season. The La r, la r, la r started off aggressive, the baritone placing forceful accents throughout. dammi coraggio was sung with a glorious piano to forte crescendo that expressed Gildas fear and pain all at once. 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. Director: Leo Paur. 2021-2022 Season. His role in Italys cultural and political development has made him an icon in his native country. 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. Verdi's Rigoletto. Rigoletto is in three acts to an Italian libretto by Francesco Maria Piave based on the 1832 play Le roi s'amuse by Victor Hugo. 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). When he does, out comes a richly human creature . Digital support of The Met: Live in HD is provided by Bloomberg Philanthropies. But the finest singing of the evening came from Benjamin Bernheim, making his long-overdue Met debut. {{::date | momentFormat:'D'}}{{$last ? '' From there his voice grew even more tender, each ensuing phrase a caress as he reached out toward his hurting daughter. 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. Rigoletto opens on November 10, with Rosa Feola and Lisette Oropesa sharing the role of Gilda, Aigul Akhmetshina as Maddalena, Benjamin Bernheim and Stephen Costello as the Duke of Mantua, and Quinn Kelsey, Michael Chioldi, and Luca Salsi as Rigoletto. He punctuated the duet with an incredibly potent low F that he sustained while walking off stage all the way through the coda of the passage. 2022 | 19:00 Rigoletto, Verdi, The Metropolitan Opera | New York City, United States l. Recently, he performed Sarastro in Die Zauberflte in Cologne, Philip II in excerpts of Don Carlo at Deutsche Oper Berlin, and Osmin in Die Entfhrung aus dem Serail at the Hamburg State Opera. Last season, he sang the Grand Inquisitor in the Met premiere of the five-act French version of Verdi's Don Carlos and the Ghost of King Hamlet / First Player / Gravedigger in the company premiere of Brett Dean's Hamlet. Other aspects work better, including the dark alley scene between Rigoletto and Sparafucile, which also makes an argument for the less is more principle. 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. A revival for Sir David McVicar's staging from last season, but this time reverting from French to the four-act Italian version, conducted by Carlo Rizzi. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, the Neubauer Family Foundation. Industry Professionals. 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. 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. And, because of how extreme these tempi were, a lot of the rich orchestral details felt underplayed or ignored. GREAT PERFORMANCES AT THE MET: Rigoletto Preview, "Cortigiani, vil razza dannata" from "Rigoletto", Piotr Beczaa Performs "La donna mobile". Lisette has given 68 performances as Gilda. Written during the most fertile period of Verdis artistic life, the opera resonates with a universality that is frequently called Shakespearean. 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! 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. The answer was in this very guttural sound. 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. He also holds a dual bachelors from Hofstra University in Film Production and Journalism. Curated conversation and digital shorts are also available on PBS social media platforms using #PBSForTheArts. Of course, Scappucci has license to interpret those tempo indications as she sees fit. Rigoletto (Verdi) The Abduction from the Seraglio (Mozart) The Merry Wives of Windsor (Nicolai) La bohme (Puccini) 1993-1994 Season. As he shouted out Addio from behind a closed door, Feolas Gilda shifted from tentative and nervous to sprightly and excited. Producer: Don Judd. Akhmetshina, but even caressing a cross on the wall, a childish smile on his face. If you are using Internet Explorer or other browsers you may encounter problems with certain sections of our website. In Act two, he arrived on the scene like a man on a mission, his head on a swivel, his body frantic as it searched for his missing Gilda. Met Opera | December 17, 2022. Benjamin Bernheim filled the auditorium with a sound that was powerful, beautiful and intelligent. The aforementioned Possente creates some major visual dissonance for the audience do we focus on the tenor singing the aria? But he's at his best in his scenes at home with Gilda, with a burnished legato and seemingly endless breath. Directed for the screen by Gary Halvorson. #PBSForTheArts is a multiplatform campaign that celebrates the arts in America. 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. Rigoletto has remained a staple at the Met forever. Skylark Opera Theatre returns to stage this Spring with the regional premiere of Jake Heggie's Three Decembers. Performances are May 28 and June 1, 4, 8, and 11. 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. In a remarkable career spanning six decades in the theater, Giuseppe Verdi (18131901) composed 26 operas, at least half of which are at the core of todays repertoire. Ei sta sotto ai miei piedi! And its definitely worth checking out. Recent highlights this season include conducting Mozart's Die Zauberflte at Lyric Opera of Chicago, the world premiere of Philip Glass's Alice in Strasbourg, Mozart's Cos fan tutte at Arizona Opera, and concerts with the Orchestre Chambre de Paris and Charlotte Symphony Orchestra. As Maddalena, Mezzo-soprano Aigul Akhmetshina displayed a plush and punchy sound that matched perfectly with bass John Relyea throughout the trio. Despite some strange costuming, she did her utmost to provide intricate characterization and development. 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. 17 des. Runtime: 210 min. 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. . Even if the Duke is a thankless role dramatically, it's the perfect showcase for his elegant tenor. We are doing maintenance on the website until approximately 1 am ET Friday, February 10. Additional details. Videos. Tony winner Ivo van Hove will also direct Mozart's Don Giovanni. The two visibly reveled in the sensuality of the cadenza, their voices navigating the lines seamlessly. As her brother Sparafucile, John Relyea was appropriately menacing, sliding in and out of the shadows despite his massive frame. These PDFs do not include cast changes that occurred after the program went to print. esser difforme, esser buffone, the voice shifting from grainy to soft and delicate as he sang Il retaggio dogni uom m tolto, il pianto.. 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. 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. In the role of Sparafucile, Relyea continued his revival with the company. Solo per me linfamia, instead of bitter and reproachful, sounded sorrowful and hurt in its approach. 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. 2010-2023 Bachtrack Ltd. All rights reserved. Instead, Feolas has greater weight and heft, especially in the middle range where she has brightness but also potency that cuts through. In their Met debuts, Yulia Matochkina sings Maddalena, and Ante Jerkunica sings Sparafucile. There are plenty of vocal thrills in Sir David McVicar's new production of Giordano's revenge thriller at the Metropolitan Opera. Samson et Dalila (Saint-Sans) Tosca (Puccini) The Elixir of Love (Donizetti) As he crescendoed into Mora! you could feel the pain and anger wrapped into one. This original and thrilling production is led by Metropolitan Opera conductor Gregory Buchalter and directed . 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. 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! 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