Metropolitan Opera tickets 4 November 2024 - Rigoletto | GoComGo.com

Rigoletto

Metropolitan Opera, New York, USA
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US$ 146

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If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Important Info
Type: Opera
City: New York, USA
Starts at: 19:00
Acts: 3
Intervals: 2
Duration: 2h 45min
Sung in: Italian
Titles in: English,German,Spanish

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast
Performers
Soprano: Nadine Sierra (Gilda)
Bass: Ante Jerkunica (Sparafucile)
Mezzo-Soprano: J'Nai Bridges (Maddalena)
Conductor: Pier Giorgio Morandi
Baritone: Quinn Kelsey (Rigoletto)
Tenor: Stephen Costello (Duke of Mantua)
Creators
Composer: Giuseppe Verdi
Production: Bartlett Sher
Costume designer: Catherine Zuber
Lighting Designer: Donald Holder
Librettist: Francesco Maria Piave
Set Designer: Michael Yeargan
Overview

Verdi’s heartbreaking masterpiece returns, with reigning Verdi baritone Quinn Kelsey reprising his devastating portrayal of the hunchbacked court jester. Radiant soprano Nadine Sierra is his naïve daughter, Gilda, and tenor Stephen Costello is the rakish Duke of Mantua, with Maestro Pier Giorgio Morandi on the podium to conduct Bartlett Sher’s Weimar-inspired production. A second run of performances features the Met debut of rising tenor Pene Pati, alongside soprano Erin Morley and baritone Luca Salsi, conducted by Maurizio Benini.

World premiere: Teatro la Fenice, Venice, 1851. A dramatic journey of undeniable force, Rigoletto was immensely popular from its premiere and remains fresh and powerful to this day. The story, based on a controversial play by Victor Hugo, tells of an outsider—a hunchbacked jester—who struggles to balance the dueling elements of beauty and evil that exist in his life. Written during the most fertile period of Verdi’s artistic life, the opera resonates with a universality that is frequently called Shakespearean.

In a remarkable career spanning six decades in the theater, Giuseppe Verdi (1813–1901) composed 26 operas, at least half of which are at the core of today’s repertoire. His role in Italy’s cultural and political development has made him an icon in his native country. Francesco Maria Piave (1810–76), Verdi’s librettist for Rigoletto, collaborated with him on ten works, including ErnaniLa Traviata, La Forza del Destino, and the original versions of Macbeth and Simon Boccanegra.

Victor Hugo’s 1832 play Le Roi s’Amuse, set at the court of King François I of France (circa 1520), is a blatant depiction of depraved authority. 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. In the Met’s production, the action unfolds in Weimar Germany in the 1920s, a time and place with surprising parallels to the decadent—and dangerous—world of the original setting.

Rigoletto contains a wealth of melody, including one that is among the world’s most famous: “La donna è mobile.” All the opera’s solos are rich with character insight and dramatic development. The famous Act III quartet, “Bella figlia dell’amore,” is an ingenious musical analysis of the diverging reactions of the four principals in the same moment: the Duke’s music rises with urgency and impatience, Gilda’s droops with disappointment, Rigoletto’s remains measured and paternal, while the promiscuous Maddalena is literally all over the place. In the context of the opera, the merely lovely music becomes inspired drama.

In cooperation with Staatsoper Berlin

 

History
Premiere of this production: 11 March 1851, Teatro La Fenice, Venice

Rigoletto is an opera in three acts by Giuseppe Verdi. The Italian libretto was written by Francesco Maria Piave based on the play Le roi s'amuse by Victor Hugo. Despite serious initial problems with the Austrian censors who had control over northern Italian theatres at the time, the opera had a triumphant premiere at La Fenice in Venice on 11 March 1851.

Synopsis

ACT I

Las Vegas, 1960. At his casino, the Duke boasts of his way with women. He flirts with the wife of Ceprano, one of his entourage, while Rigoletto, the Duke’s hunchbacked sidekick and comedian, mocks the enraged husband. Marullo, another one of the Duke’s entourage, bursts in with the latest gossip: Rigoletto is keeping a young mistress at his place. Unaware of this, Rigoletto continues to taunt Ceprano, who plots with the others to punish Rigoletto for his insults. Monterone, an Arab tycoon, forces his way into the crowd to denounce the Duke for seducing his daughter and is viciously ridiculed by Rigoletto. Monterone is arrested and puts a curse on Rigoletto. Rigoletto is disturbed by Monterone’s curse. He encounters Sparafucile, a hitman, who offers his services. Rigoletto reflects that his own tongue is as sharp as the murderer’s knife. Arriving at home, he warmly greets his daughter, Gilda. Fearing for the girl’s safety, he warns the housekeeper, Giovanna, not to let anyone into the apartment. When Rigoletto leaves, the Duke appears and bribes Giovanna, who lets him see Gilda whom he’s seen in church. He declares his love for her and tells her he is a poor student. After he has left, Gilda tenderly reflects on her newfound love. The Duke’s entourage gathers nearby, intending to abduct Rigoletto’s “mistress.” When Rigoletto arrives, surprising them, they convince him they are abducting the Countess Ceprano, and enlist his aid in their scheme. Successfully deceiving Rigoletto, they kidnap Gilda. When Rigoletto discovers that his daughter has been taken, he collapses as he remembers Monterone’s curse.

ACT II

Arriving at his penthouse apartment in the casino, the Duke is distraught, having immediately gone back to see Gilda only to find her missing. When his entourage returns and tells him the story of how they abducted a girl from Rigoletto’s apartment and left her in the Duke’s bedroom, he realizes it is Gilda and hurries off to her. Rigoletto enters, looking for Gilda. The entourage is astonished to find out that she is his daughter rather than his mistress, but they prevent him from storming into the Duke’s bedroom. Rigoletto violently denounces them for their cruelty, then asks for compassion. Gilda returns from the Duke’s room. She tells Rigoletto of the Duke’s courtship, her abduction, and her deflowering by the Duke. Monterone is brought in to be killed by the Duke’s men, and Rigoletto swears that both he and the Arab will be avenged. Gilda begs her father to forgive the Duke.  

ACT III

Rigoletto brings Gilda to a seedy club on the outskirts of town where Sparafucile and his sister Maddalena live. The Duke appears, and Gilda and Rigoletto watch him through the window as he amuses himself with Maddalena. Rigoletto tells his distraught daughter to leave town disguised as a man and, after she leaves, pays Sparafucile to murder the Duke. Gilda returns to overhear Maddalena urge her brother to spare the Duke and kill Rigoletto instead. Sparafucile refuses but agrees to kill the next person to arrive at the club, so that he will be able to produce a dead body for Rigoletto. Gilda decides to sacrifice herself for the Duke. Her plan succeeds and Sparafucile and Maddalena put her body in the trunk of a car. Rigoletto returns, and assuming the body is the corpse of the Duke, gloats over his revenge. But when he hears the Duke singing inside the club, he realizes he has been duped. He quickly removes the hood covering the head of the body in the car and is horrified to find it has been masking the identity of his dying daughter. Gilda dies asking her father’s forgiveness and Rigoletto realizes Monterone’s curse has been fulfilled.

Venue Info

Metropolitan Opera - New York
Location   30 Lincoln Center

The Metropolitan Opera is an opera company based in New York City, resident at the Metropolitan Opera House at the Lincoln Center for the Performing Arts. The Metropolitan Opera is the largest classical music theatre in North America. It presents about 27 different operas each year from late September through May. As of 2018, the company's current music director is Yannick Nézet-Séguin.

The Metropolitan Opera Company was founded in 1883 as an alternative to New York's old established Academy of Music opera house. The subscribers to the Academy's limited number of private boxes represented the highest stratum in New York society. By 1880, these "old money" families were loath to admit New York's newly wealthy industrialists into their long-established social circle. Frustrated with being excluded, the Metropolitan Opera's founding subscribers determined to build a new opera house that would outshine the old Academy in every way. A group of 22 men assembled at Delmonico's restaurant on April 28, 1880. They elected officers and established subscriptions for ownership in the new company. The new theater, built at 39th and Broadway, would include three tiers of private boxes in which the scions of New York's powerful new industrial families could display their wealth and establish their social prominence. The first Met subscribers included members of the Morgan, Roosevelt, and Vanderbilt families, all of whom had been excluded from the Academy. The new Metropolitan Opera House opened on October 22, 1883, and was an immediate success, both socially and artistically. The Academy of Music's opera season folded just three years after the Met opened.

The operas are presented in a rotating repertory schedule, with up to seven performances of four different works staged each week. Performances are given in the evening Monday through Saturday with a matinée on Saturday. Several operas are presented in new productions each season. Sometimes these are borrowed from or shared with other opera companies. The rest of the year's operas are given in revivals of productions from previous seasons. The 2015–16 season comprised 227 performances of 25 operas.

The operas in the Met's repertoire consist of a wide range of works, from 18th-century Baroque and 19th-century Bel canto to the Minimalism of the late 20th century. These operas are presented in staged productions that range in style from those with elaborate traditional decors to others that feature modern conceptual designs.

The Met's performing company consists of a large symphony-sized orchestra, a chorus, a children's choir, and many supporting and leading solo singers. The company also employs numerous free-lance dancers, actors, musicians, and other performers throughout the season. The Met's roster of singers includes both international and American artists, some of whose careers have been developed through the Met's young artists programs. While many singers appear periodically as guests with the company, others, such as Renée Fleming and Plácido Domingo, long maintained a close association with the Met, appearing many times each season until they retired.

Important Info
Type: Opera
City: New York, USA
Starts at: 19:00
Acts: 3
Intervals: 2
Duration: 2h 45min
Sung in: Italian
Titles in: English,German,Spanish
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