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. 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. 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. Despite her frumpy costume, she's ideal for the role, clearly having the time of her life vamping around the stage. In their Met debuts, Yulia Matochkina sings Maddalena, and Ante Jerkunica sings Sparafucile. Audience. They felt detached from transitions into them, when they existed (like in Cortigiani). The music says one thing, the stage says another. But he had a major triumph this year as the Grand Inquisitor in Don Carlos and then Don Carlo with the company, and hes arguably in even finer form here as the deadly assassin. They offer both strong bones and flexibility . For more information, visit metopera.org. At the climactic La Maledizione he interpolated a high G flat and A flat, both delivered ferociously to end the night. 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. 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. 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. 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. Giuseppe Verdi's ever-popular masterpiece returns for a performance starring Lisette Oropesa, Aigul Akhmetshina, Stephen Costello, and Luca Salsi in . Victorian Opera announces cast for The Who's Tommy. Bass-baritone John Relyea is Sparafucile, and mezzo-soprano Aigul Akhmetshina also debuts as Maddalena. Videos. Description New production. 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. There are plenty of vocal thrills in Sir David McVicar's new production of Giordano's revenge thriller at the Metropolitan Opera. While she got off to a promising start during that Preludio, the string tremolos surging forward toward the fortissimo orchestral explosions, things started to get a bit hairy once the singers took the stage. It took but a moment before she was rushing away down the stairs. But her experience as an operatic conductor was in full evidence, shading the orchestra and stretching the tempo like a true master. 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. As he crescendoed into Mora! you could feel the pain and anger wrapped into one. 2010-2023 Bachtrack Ltd. All rights reserved. Start Free 7-Day Trial Rent for $4.99 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. N New Production. As her brother Sparafucile, John Relyea was appropriately menacing, sliding in and out of the shadows despite his massive frame. From there his voice grew even more tender, each ensuing phrase a caress as he reached out toward his hurting daughter. 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!. Later this season, he sings Lenski in Eugene Onegin at the Met. S, la mia figlia! 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. Rigoletto | Opera | Performances, schedule and tickets | The Metropolitan Opera | View more information on Operabase . The Met: Live in HD is supported by Rolex. 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). The Metropolitan Opera has announced a cast change for its spring run of "Rigoletto.". 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. 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). Skylark Opera Theatre returns to stage this Spring with the regional premiere of Jake Heggie's Three Decembers. 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 when he commenced Deh, non parlare al misero, his voice took on a honeyed hue full of yearning. 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. Rigoletto returns in the spring for five performances May 28-June 11, 2022. Mozart's Idomeneo. camera operator Music Department Additional Crew Bartlett Sher . Even in the lower reaches of this section, his voice retained that gentility, always soft and warm. This video really should have had a fourth example, though. 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. Despite serious initial problems, the opera had a triumphant . Right before the duet with the Duke, Feola delivered a glorious piano to forte crescendo on Tamo before being cut off as the duet proper got underway. This original and thrilling production is led by Metropolitan Opera conductor Gregory Buchalter and directed . mia Gilda was spoken, the effect expressing how empty Rigoletto feels in this moment. 2022 | 19:00 Rigoletto, Verdi, The Metropolitan Opera | New York City, United States ti. She slowly crept up those stairs, the trepidation apparent, and glimpsed inside. 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. Rigoletto, a cursed court jester of the lustful Duke of Mantua, obsessively protects his daughter, Gilda. Canadian bass-baritone John Relyea, who just ended a highly . 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 Age - Thu, 31 Oct 2019 . 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). Music Director Yannick Nzet-Sguin is on the podium to conduct a supreme cast led by tenor Piotr Beczaa in the title role of the mysterious swan knight. Elsewhere this season, he sings Sarastro at the Vienna State Opera. ) right before the final duet was almost howled, its effect spine-chilling. 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. . 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. Premieres Friday, June 17, 2022 at 9 p.m. on KPBS 2 / On demand with PBS Video App. But most of the night, and especially in these fast sections, the weight in the lower strings was completely inaudible (please note that I was in the orchestra section and that might have had something to do with that experience). In Act three, he retained this prickly vocal character, his low notes throughout the quartet dark and grainy, emphasizing Rigolettos resentment. 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. Artists. 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. 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. #PBSForTheArts is a multiplatform campaign that celebrates the arts in America. Conductor Daniele Rustioni takes the podium to lead a cast starring Quinn Kelsey in his Met role debut as Rigoletto, Rosa Feola as Gilda, and Piotr Beczaa as the Duke of Mantua. 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. 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. Italian soprano Rosa Feola returns to the Met this season as Gilda, the role of her 2019 company debut. Review: Amid Omicron, the Met Opera Opens a Weimar 'Rigoletto'. This was present at the Allegro vivo following Rigolettos Ah no: folia at the end of Pari siamo and then at the start of Addio speranza ed anima. It was present in the middle of Act two Gilda-Rigoletto duet Tutte le feste al tempio with Rigolettos entrance Ah! 2022 Metropolitan Opera Wiener Staatsoper; 2021 Royal . 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. Pretty but Pointless. The broadcast is part of season 16 of GREAT PERFORMANCES AT THE MET includes 10 new operas. 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. John Dexter's production, now among the longest-serving in the company's repertory, remains a marvel of simple, effective storytelling. However, things started getting a bit off during the dolce sixth leaps on a te and the ensuing sixteenth note runs; the soprano sounded stretched and there was even a moment where she went a bit flat in the runs. 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. American rags, riches and everything in between. 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. 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. The Vienna State Opera's production of Rigoletto did its job, proving an appropriately grim staging for a very dark opera. At the close of the duet, his piano singing blended with Feolas almost as one with the cadenza, as noted, spot on through the several runs. Please check if you entered the email address correctly. Rigoletto | Opera | Voorstellingen, schema en kaartjes | Gran Teatre del Liceu | Bekijk meer informatie op Operabase The La r, la r, la r started off aggressive, the baritone placing forceful accents throughout. Rigoletto Worldwide Broadcasts in Cinema, Radio, and Online. 2022 | 20:00 Rigoletto, Verdi, The Metropolitan Opera | New York City, United States fr. 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. SAS Performing Arts Concert Opera Presents Puccini's IL TRITTICO, Arizona Opera Announces Its 2023/24 Season Line-up, THE ARTWORK OF THE FUTURE World Premiere Opera To Run At Fresh Squeezed Opera, May 13-19. The Metropolitan Opera. 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). One of the things that is so incredible about Rigoletto within Verdis oeuvre is its pacing. On the repeat of the melody, she spun a similarly delicate legato line, her high B flats fluid and sparkling. Carlos lvarez performs in the title role, alongside Lisette Oropesa and Liparit . 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. John Relyea will make his Met role debut as Sparafucile in Verdi's Rigoletto, replacing Andrea Mastroni. The final duet was magnetic not only for Feolas interpretation but Kelseys pained pleas of Non morire, mio tesoro, pietade! Far more traditional in tone than Michael Mayer's groovy 2013 Las Vegas Rat Pack Rigoletto, this staging . Met Opera | April 22, 2023 . She played up her flirtation with the Duke throughout the quartet and then provided assertiveness throughout the trio. This choice also fit in nicely with the coloratura, generating a fluidity throughout. Our website has been optimized for viewing in the latest versions of Chrome, Firefox, and Safari. For the Met: Mia Bongiovanni is supervising producer and Louisa Briccetti and Victoria Warivonchik are producers. 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. Instead, Feolas has greater weight and heft, especially in the middle range where she has brightness but also potency that cuts through. Opera is thriving. 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. 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. . The opera will mark Morley's return to the Met following her . 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 In the Duke's court he is appropriately terrifying, spitting words out with a cynical sneer. However, it included some glaring strange elements that were impossible to ignore. American conductor Karen Kamensek is currently leading Philip Glass's Akhnaten at the Met, the production she made her company debut with in 2019. If you are using Internet Explorer or other browsers you may encounter problems with certain sections of our website. '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. This season at the Met, she also sings Olga in Eugene Onegin. He has appeared at many of the worlds leading opera houses and festivals, including Deutsche Oper Berlin, the Vienna State Opera, Lyric Opera of Chicago, San Francisco Opera, Washington National Opera, and the Salzburg Festival. 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. And so we come to the end. The moment the Duke started his Bella figlia dellamore, Feolas expression shifted she had heard those same words and suddenly she was curious to see what was happening. But as the aria transitioned away from anger toward pleading, his voice correspondingly softened. The aria proper was one expansive legato line that commenced with utmost softeness and tenderness, each successive peak and valley featuring fluid crescendoes and diminuendoes, each one ramping up the intensity toward the climactic high B flat near the end of the aria, where the tenor let loose with everything he had. Feola was in equally fine voice, her warm lyric soprano on the cusp on womanhood. 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 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. SAS Performing Arts Concert Opera presents the only New York City performance of the Puccini work Il Trittico. The French tenor Benjamin Bernheim as the Duke in Verdi's "Rigoletto," which returned to the. But he had a major triumph this year as the Grand Inquisitor in Don Carlos and then . During his time at Fordham, he studied abroad at the Jagiellonian University in Poland. 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. She frequently sings at Moscows Bolshoi Theatre, Deutsche Oper Berlin, Teatro dellOpera di Roma, and LA Opera. . During the quartet, Bella figlia dellamore, Bernheim delivered another display of glorious legato singing. 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. Performances are May 28 and June 1, 4, 8, and 11. dammi coraggio was sung with a glorious piano to forte crescendo that expressed Gildas fear and pain all at once. Kevin is a violinist and violist, and regularly performs as a soloist, chamber musician, and as an orchestral player. A second run of performances in the spring features baritone Ludovic Tezier, soprano Kristina Mkhitaryan, and tenor Stephen Costello, conducted by Karel Mark Chichon. But the ensuing Act is where her commitment to the character was at its most powerful. He capped off this incredible performance with a lengthy pause, which added tremendous emotional suspense to the moments following Gildas death. 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. 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. 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. 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. The story, based on a controversial play by Victor Hugo, tells of an outsidera hunchbacked jesterwho struggles to balance the dueling elements of beauty and evil that exist in his life. That was quickly contrasted in the ensuing scene as he roamed about the streets, delivering a hushed and pained Quel vecchio maledivami! The defensiveness of the opening scene continued throughout the conversation with Sparafucile, Kelsey initially reserved but slowly opened up his sound as he inquired about Sparafuciles methods. He has previously conducted at opera companies around the world, including the Bavarian State Opera, Paris Opera, Deutsche Oper Berlin, Vienna State Opera, Teatro Real in Madrid, and Gran Teatre del Liceu in Barcelona. Discovered and promoted by Valery Gergiev, she began her career at the Mariinsky Theatre, collaborating . 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. 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. In a recent interview with OperaWire, composer Lori Laitman noted that Verdis Rigoletto was among her favorite operas. That said, this is a step up from the Las Vegas episode. 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 . 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. If you are using Internet Explorer or other browsers you may encounter problems with certain sections of our website. 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. He perhaps lacks the nastiness for the part, but more than makes up for it with an Act 2 aria of such tenderness and sincerity that I almost believed that the Duke could be in love with Gilda. This season, he begins his tenure as the principal guest conductor at the Bavarian State Opera. 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. Visit Website. 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. Ascolta Patrice Munsel senza limiti su Qobuz e acquista gli album in Hi-Res 24-bit per una qualit sonora senza pari. The Metropolitan Opera Announces 202324 Season, Review: Mets New LOHENGRIN Is Thrillingly Sung but Close Your Eyes and Listen, The 2023 George London Award Winners Are Announced; Five Young Opera Singers Win $12,000 Prize, Review: THE SAN DIEGO OPERA'S PUCCINI DUO at San Diego Civic Center Theater. AussieTheatre.com - Mon, 16 Mar 2020 . Performance History. Yet, somehow, Andante mosso agitato was decidedly faster than the Allegro Vivo. 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. Cast: Joseph Paur,Frank Gerrish,Ivey Lloyd . Moreover, he started closing in on the other men around him, almost as if ready to strike them. But at the very least its coherent narratively. His Chi tha colpita? Quinn Kelsey and Rosa Feola as Gilda in a scene from Verdi's "Rigoletto." Premieres Friday, June 17, 2022 at 9 p.m. on KPBS 2 / On demand with PBS Video App Baritone Quinn Kelsey portrays the. 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. 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. The aforementioned Possente creates some major visual dissonance for the audience do we focus on the tenor singing the aria? 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. 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. In the role of Sparafucile, Relyea continued his revival with the company. 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. Karel Mark Chichon conducts. Also this season at the Met, he conducts performances of Le Nozze di Figaro in January. In their Met debuts, Yulia Matochkina sings Maddalena, and Ante Jerkunica sings Sparafucile. 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. 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. 2022-12-22 ANNOUNCEMENT Ekaterina Sannikova signs with TACT for General Management The Met rings in the new year with the gala premiere of a bold new take on Verdi's timeless tragedy from Bartlett Sher. 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. His Cortigiani is utterly overwhelming, the emotional anchor of the entire work. 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. Mezzo-soprano Isabel Leonard hosts. or do we focus on Gildas preparations for her sexual encounter with the Duke? Digital support of The Met: Live in HD is provided by Bloomberg Philanthropies. 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. Polish tenor Piotr Beczaa reprises his portrayal of the Duke of Mantua, the role of his Met debut in 2006. For instance, the production included an elevator-like structure in the center of the stage that moved up and down in . 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. Laitman noted that Verdis Rigoletto was among her favorite operas Andante mosso agitato was decidedly faster than Allegro! 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