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. And suddenly our attention shifts away from Rigolettos truly private and essential CHARACTER moment, to something else. 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. Mezzo-soprano Isabel Leonard hosts. 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. 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. A dream cast assembles for Strauss's grand Viennese comedy. When you have a tenor like this cast had, the choice is made that much more difficult. The ensuing cabaletta Possente amor mi chiama presented the tenor with an opportunity to expand on the brightness and lush sound of his opening Questa o quella, and he fully delivered on that, projecting powerfully into the auditorium. Perhaps Feolas standout moment came in the ensuing act during Tutte le feste al tempio. The recitative that preceded the duet proper, Ciel! She recently made her debut at Covent Garden as Micala in Carmen. The broadcast is part of season 16 of GREAT PERFORMANCES AT THE MET includes 10 new operas. Polish tenor Piotr Beczaa reprises his portrayal of the Duke of Mantua, the role of his Met debut in 2006. 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. 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. Kelsey reprises the title role opposite Kristina Mkhitaryan as Gilda and Stephen Costello as the Duke of Mantua. by Stephi Wild Oct. 25, 2022. As the passage drew to its conclusion, he thundered on the final Ah no, follia, the voice vibrant and powerful on the high E. More remarkable still was how contained Kelsey was on stage, and yet his body language expressed every one of these emotions. Opera Met Opera's 2022-2023 Season Includes Rene Fleming and Kelli O'Hara in The Hours, Terence Blanchard's Champion, More. Between 2014 and 2020, he was music director of the Orchestra della Toscana, where he is currently artistic director. She is directing the pace and motion of the drama to what she feels is most appropriate. All performances to. Elegant is probably an apt word for his performance on the whole, especially for this opera where the Duke is called on to sing one glorious, soaring bel canto melody after another. 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. Its handsome sets and costumes drew an appreciative gasp from the audience, and the revolving set kept the action moving smoothly. 2022-23 Season In Cinemas At Home On Demand Radio Television Events Tickets 2023 ABT Tickets On Demand Visit Health and Safety Requirements Getting Here Daytime Access Accessibility Dining at the Met Tours What to Expect Exhibitions Discover Videos Podcasts Artists Articles Synopses The production starred baritone Quinn Kelsey in the titular role with Rosa Feola. 23 des. She is currently a studio artist at Moscows Bolshoi Theatre, which she joined after singing at the Galina Vishnevskaya Theatre Studio. Arizona Operas programming includes something for everyone, from tried-and-true opera lovers to school-aged children and everyone in between. 2022 | 20:00 Rigoletto, Verdi, The Metropolitan Opera | New York City, United States fr. 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. 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. He made his Met debut in 2007 as Arturo in Lucia di Lammermoor, with other roles for the company including Camille de Rosillon in The Merry Widow, Lord Percy in Anna Bolena, Romo in Romo et Juliette, and Alfredo Germont in La Traviata. She brought a seemingly endless supply of energy to the evening, with swift tempi and impressively monolithic brass. But her experience as an operatic conductor was in full evidence, shading the orchestra and stretching the tempo like a true master. 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. Returning from the premiere cast were Quinn Kelsey and Rosa Feola as Rigoletto and Gilda. The Tony Award-winning director resets the opera's action in 1920s Europe . Despite her frumpy costume, she's ideal for the role, clearly having the time of her life vamping around the stage. Two artists make notable Met debuts: the tenor Benjamin Bernheim as the Duke of Mantua and the conductor Speranza Scappucci in the pit. American baritone Quinn Kelsey returns to the Met this season, making his company role debut in the title role of Rigoletto. Jen is a web producer at KPBS, responsible for program promotion, online membership-related activities, and is the editor of the KPBS community calendar. 2022 | 13:00 Rigoletto, Verdi, Later this season, he sings Lenski in Eugene Onegin at the Met. The famous Act III quartet, Bella figlia dellamore, is an ingenious musical analysis of the diverging reactions of the four principals in the same moment: The Dukes music rises with urgency and impatience, Gildas droops with disappointment, Rigolettos remains measured and paternal, while the promiscuous Maddalena is literally all over the place. 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. And when she exited the Dukes room, she moved about the space slowly, her eyes downcast, searching for a place to be alone. Feola was in equally fine voice, her warm lyric soprano on the cusp on womanhood. Rigoletto returns in the spring for five performances May 28-June 11, 2022. esser difforme, esser buffone, the voice shifting from grainy to soft and delicate as he sang Il retaggio dogni uom m tolto, il pianto.. The answer was in this very guttural sound. At the climactic La Maledizione he interpolated a high G flat and A flat, both delivered ferociously to end the night. Kevin is a violinist and violist, and regularly performs as a soloist, chamber musician, and as an orchestral player. Videos. 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. 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. He has conducted all of the major Italian symphony orchestras, as well as many throughout Europe, and has also led productions at La Scala, Staatsoper Berlin, Dutch National Opera, the Paris Opera, Pesaros Rossini Opera Festival, and in Aix-en-Provence, Valencia, Venice, Madrid, Stuttgart, Zurich, Tokyo, Rome, and Naples, among others. This next section, which also climaxes with a triplet sixteen run to a high A, was even more intense in its anguish, allowing her to end it on a aptly harsher vocalization for pi crudel. The rest of the duet was equally magical with Feolas softer singing matching Kelseys glorious piano sound, but the way she phrased these opening bars was so powerful in not only the emotional weight they carry in the dramatic moment, but in the care and precision with which Feola delivered them and the resulting emotional impact they produced. 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 mezzo-soprano Aigul Akhmetshina is making her debut in the role of Maddalena. and purity of tone. 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. Bass-baritone John Relyea is Sparafucile, and mezzo-soprano Aigul Akhmetshina also debuts as Maddalena. Met Opera | April 22, 2023 . And then, with the arrival of the woodwinds, he returned with a tender piano line, almost whispering parlato, his repetition of Quel vecchio maledivami! his softest yet. . This season, he begins his tenure as the principal guest conductor at the Bavarian State Opera. Ella mi fu rapita is the tenors big moment, not only vocally, but also dramatically, allowing for a moment of potential contrast and depth. '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. Keep up with all the latest news, arts and culture, and TV highlights from KPBS. The aforementioned Possente creates some major visual dissonance for the audience do we focus on the tenor singing the aria? Also making her debut was the young mezzo Aigul Akhmetshina as Maddalena. 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. Met Opera: Rigoletto review [November 2022] Proving that money and insight do not necessarily mix, this first revival season of Met Opera's new Rigoletto looks suitably grand, and sounds wonderful, but generally leaves the audience cold. Despite serious initial problems, the opera had a triumphant . Companies. However, it included some glaring strange elements that were impossible to ignore. The company noted that Erin Morley will sing the role of Gilda on May 28 through June 11 replacing the originally announced Kristina Mkhitaryan, who has withdrawn from the production. Canadian bass-baritone John Relyea, who just ended a highly . 2021-2022 Season. That said, this is a step up from the Las Vegas episode. Luiz Gazzola Opera Lively. Il Trittico is comprised of three one act operas; Il Tabarro (The Cloak), Suor Angelica (Sister Angelica), and Gianni Schicchi. Samson et Dalila (Saint-Sans) Tosca (Puccini) The Elixir of Love (Donizetti) Giuseppe Verdi's ever-popular masterpiece returns for a performance starring Lisette Oropesa, Aigul Akhmetshina, Stephen Costello, and Luca Salsi in . Rigoletto (Verdi) The Abduction from the Seraglio (Mozart) The Merry Wives of Windsor (Nicolai) La bohme (Puccini) 1993-1994 Season. desso! In adapting it, Verdi and Piave fought with the Italian censors and eventually settled on moving the story to the non-royal Renaissance court of Mantua, while holding firm on the core issues of the drama. 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. 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. Kevin Puts'. Our website has been optimized for viewing in the latest versions of Chrome, Firefox, and Safari. Its an intimate passage and one of Verdis most radical (at the time). The December 31 performance, as well as the January 4, 19, 29, and June 8, 2022, performances of Rigoletto will be broadcast live on Met Opera Radio on Sirius XM Channel 355. 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. American rags, riches and everything in between. 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. 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. Desperation took over with the subsequent phrases aggressive, accented, and frantic. Despite some strange costuming, she did her utmost to provide intricate characterization and development. GREAT PERFORMANCES AT THE MET "Rigoletto" premieres Friday, June 17 on PBS as part of #PBSForTheArts. English conductor Karel Mark Chichon made his Met debut in 2016 conducting Madama Butterfly, returning in 2020 for performances of La Traviata. Cast: Quinn Kelsey - Rigoletto Rosa Feola - Gilda Piotr Beczala - Duke of Mantua Craig Colclough - Monterone Varduhi Abrahamyan - Maddalena Andrea Mastroni - Sparafucile Scott Sully - Borsa. Discovered and promoted by Valery Gergiev, she began her career at the Mariinsky Theatre, collaborating . 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. 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. ) right before the final duet was almost howled, its effect spine-chilling. 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. We appreciate your patience. She played up her flirtation with the Duke throughout the quartet and then provided assertiveness throughout the trio. As he crescendoed into Mora! you could feel the pain and anger wrapped into one. If you are using Internet Explorer or other browsers you may encounter problems with certain sections of our website. Previous GREAT PERFORMANCES programs include "Romeo & Juliet" from the National Theatre, "The Arts Interrupted," "Reopening: The Broadway Revival" and "The Conductor." dammi coraggio was sung with a glorious piano to forte crescendo that expressed Gildas fear and pain all at once. Verdi doesnt waste a moment and every single note in the piece plays a crucial role in building its tension and tragedy. Bartlett Sher previously staged Rigoletto in Berlin in June 2019 and October 2019. Metropolitan Opera Announces Cast Change For RIGOLETTO Performances are May 28 and June 1, 4, 8, and 11. by Stephi Wild May. 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. 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. stage director See also Industry Professionals. The Age - Sat, 19 Feb 2022 . She frequently sings at Moscows Bolshoi Theatre, Deutsche Oper Berlin, Teatro dellOpera di Roma, and LA Opera. {{::date | momentFormat:'D'}}{{$last ? '' 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?) You could sense the insecurity she felt upon finding the Duke, her body shifting into a protective shell before allowing herself to be taken by him. He is a professor at the Yale School of Drama. 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. A loud, unsubtle performance of a loud, unsubtle production the Met really deserves a new Aida. For GREAT PERFORMANCES: Bill ODonnell is series producer; David Horn is executive producer. During Pari siamo, Kelsey revealed the wide-ranging gamut of colors at his disposal. 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. It was the epitome of style over substance and after seeing it a few times, no singer however great could get me to subject myself to its charmlessness. As the scene progressed, you could sense him losing hope, his sound diminuendoing. and the castwhich includes eljko Lui, Diana Damrau, Piotr Beczala . Studio: The Metropolitan 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. #PBSForTheArts is a multiplatform campaign that celebrates the arts in America. Armenian mezzo-soprano Varduhi Abrahamyan makes her Met debut as Maddalena. 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 collection of #PBSForTheArts programs is available at pbs.org/arts and the PBS Video app. 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. This conversation features leaders of the Dallas Symphony, including Ross . 2010-2023 Bachtrack Ltd. All rights reserved. Tenor Stephen Costello is her self- centered lover Alfredo, alongside baritone Luca Salsi as his disapproving father, and Maestro Daniele Callegari on the podium. Verdi: Rigoletto (2022) Full Cast & Crew See agents for this cast & crew on IMDbPro Directed by Gary Halvorson Writing Credits (in alphabetical order) Cast Camera and Electrical Department Kevin Murphy . For further details on Rigoletto, including casting by date, please click here. She has also sung Gilda at the Bavarian State Opera, Lyric Opera of Chicago, Ravenna Festival, and in Rome, Zurich, Turin, and Savona. Pretty but Pointless. Visit Website. You could feel the fear, the shame, the pain, and in one brief moment, the anger of what had happened to her. Pari siamo is at the core of Rigoletto. Its in this moment, when the titular character, having been damned by another fallen father, meditates on a recent conversation with the murderer Sparafucile. Continues through Jan. 29 with this cast and conductor at the Metropolitan Opera, Manhattan; metopera.org. 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. Compounding Bernheims performance during this scene was how much fun he seemed to be having, not only flirting with Akhmetshina, but even caressing a cross on the wall, a childish smile on his face. The Met Operas faithfulness to Michael Mayers increasingly unnerving, Taking on that task in this production was, In the role of Sparafucile, Relyea continued his revival with the company. Her body was full of fear and confusion as she ran about the turning table, women racing after her to undress her. duna tal vittoria, che? 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. 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. And so we come to the end. She is originally from Las Vegas and attended UNLV. 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. Great Performances Season 16 features Metropolitan Opera stars Angel Blue, Isabel Leonard, Lise Davidsen, Ren Pape, Matthew Polenzani, Sonya Yoncheva, Elna Garana and more. It was hard to decipher what was going on and the fact that this kind of abstraction was never hinted at our set up anywhere else in the production (which was played as straight as possible) took you right out of the moment. And considering that this is an opera that has been done time and again, it was refreshing to hear her test the limits of what this music could do. While the soprano was at her best during the delicate opening lines of the piece, her piano singing almost parlato in its effect and generating a powerful intimacy between audience and performer. . NYT Critic's Pick. His role in Italys cultural and political development has made him an icon in his native country. I've never heard a Gilda so convincingly sound like she is at death's door. 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! As Maddalena, Mezzo-soprano Aigul Akhmetshina displayed a plush and punchy sound that matched perfectly with bass John Relyea throughout the trio. Performances are May 28 and June 1, 4, 8, and 11. And like Laitman, it has always remained one of my favorites, exploring the damaging impact of a toxic patriarchal world where no man is without shame or blame (it was particularly striking this time around to realize that despite being a teenager, Gilda knows nothing of her familys past; her fathers attempt to lock his daughter away from the world seems to include keeping her own story and identity from her as well). Francesco Maria Piave (181076), Verdis librettist for Rigoletto, collaborated with him on ten works, including Ernani, La Traviata, La Forza del Destino, and the original versions of Macbeth and Simon Boccanegra. Start Free 7-Day Trial Rent for $4.99 A Verdi favorite, Rigoletto is set in the rich and decadent Italian Renaissance and features some of opera's most famous arias! For its first staging of the opera in 17 years, the Met assembled a superb cast which combined with the Metropolitan Opera Chorus and Orchestra under the baton of Yannick . As he shouted out Addio from behind a closed door, Feolas Gilda shifted from tentative and nervous to sprightly and excited. She performs regularly at the Moscow Easter Festival, St. Petersburgs Stars of the White Nights Festival, and has also appeared at the Edinburgh and Verbier Festivals. And its definitely worth checking out. The final Adagio preceding Parmi veder le lagrime featured an exquisite run up to a sparkling high B double flat and a subsequent pained diminuendo. 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. Confusion, unless part of the thematic underpinning of the story, never makes for good storytelling. One of the things that is so incredible about Rigoletto within Verdis oeuvre is its pacing. 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). Russian soprano Kristina Mkhitaryan makes her Met role debut as Gilda. 2022-12-22 ANNOUNCEMENT Ekaterina Sannikova signs with TACT for General Management Production title: Rigoletto - The Metropolitan Opera (2021-2022) Creation date: 02/06/2019 Work - Composer: Rigoletto - Giuseppe Verdi Opera house: The Metropolitan Opera. That already tells the audience to shift its focus to whats about to happen. The Tony Award-winning creative team, including director Bartlett Sher, set designer Michael Yeargan, costume designer Catherine Zuber, and lighting designer Donald Holder, sets the classic tragedy in 1920s Europe, featuring Art Deco sets and elegant costumes. 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. The opera will mark Morley's return to the Met following her . During his time at Fordham, he studied abroad at the Jagiellonian University in Poland. 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. The best in live events, streams, reviews and articles recommended by our editors, delivered to your inbox weekly. A new cast brings the Met's Rigolettoto life John Relyea (Sparafucile), Benjamin Bernheim (Duke of Mantua) and Aigul Akhmetshina (Maddalena) Curtis Brown | Met Opera Benjamin Bernheim (Duke of Mantua) and Rosa Feola (Gilda) Curtis Brown | Met Opera Quinn Kelsey (Rigoletto) Curtis Brown | Met Opera The production of Verdi's final opera will star Mark Delavan as Sir John Falstaff, Brian Major as Ford, Rachel Blaustein as Nannetta, Mary Feminear as Alice Ford, Allegra De Vita as Meg Page, Catherine Martin as Mistress Quickly, Yi Li as Fenton, Mauricio Miranda as Dr. Caius, Joseph Michael Brent as Bardolfo, and Andrea Silvestri as Pistola. mia Gilda was spoken, the effect expressing how empty Rigoletto feels in this moment. 2022-23 Season 2023-24 Season In Cinemas At Home On Demand Radio Television Events Tickets 2023 ABT Tickets On Demand Visit Health and Safety Requirements Getting Here Daytime Access Accessibility Dining at the Met Tours What to Expect Exhibitions Discover Videos Podcasts Artists Articles Then there were tempo shifts that seemed to come out of nowhere, breaking the flow of the momentum and jerking you out of the action; moreover, they often felt out of control and unstable, rushing forward initially and then calming down. Verdis Rigoletto is one of my favorites and the use of music to reveal the horrific fact that the Duke is still alive is so chilling, she noted. She matched tenor Ben Bernheim line for line through il sol dellanima, delivering ethereal piano singing during her opening Ah, de miei vergini sogni son queste that was answered by an equally glorious piano line from him. Bartlett Sher's Weimar-inspired production premiered less than a year ago, and is eminently revivable. Once a seeming fixture with the company throughout the early 2000s, he stopped appearing after the 2016 season. If you are using Internet Explorer or other browsers you may encounter problems with certain sections of our website. 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. Even if the Duke is a thankless role dramatically, it's the perfect showcase for his elegant tenor. 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. As Gilda, Rosa Feola had a solid night overall. Jen has worked at KPBS since 2000. Taking on that task in this production was Speranza Scappucci, making her Metropolitan Opera debut. Check out the latest photos and bios of the cast and filmmakers of The. Maestro Daniele Rustioni leads Verdis timeless tragedy reset in 1920s Europe by Tony-winning director Bartlett Sher. They felt detached from transitions into them, when they existed (like in Cortigiani). 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