Kelsey has been forced to miss at least three performances after testing positive for the coronavirus this week, but is expected to be back onstage on Jan. And he’s got all the qualities as a performer to deliver it.” “I think that Bart was really encouraging him to go for things in ways he hadn’t before. “He’s a Rigoletto of enormous cruelty and empathy,” Gelb said. Rustioni was pleasantly surprised by Kelsey, with whom he hadn’t worked before, calling him a great Rigoletto of our time who is “destined for great things.” He is, Gelb added, “one of our first choices when we think of Verdi baritones,” and his coming Met appearances include “Un Ballo in Maschera,” “Aida” and “Macbeth.” “But this role shows off his full vocal and dramatic depth.”
“Kelsey has always been an arresting artist,” Anthony Tommasini wrote in a review for The New York Times.
And Kelsey, a Met fixture in baritone parts for over a decade, is finally getting a true starring role - onstage and on Lincoln Center billboards. Feola, a soprano who made her Met debut in a revival of the old production in 2019, is returning to eager anticipation and the spotlight of a premiere. Now they are doing the parts in Bartlett Sher’s new staging of “Rigoletto” at the Metropolitan Opera, which opened on New Year’s Eve and moves the action to Weimar Germany.
Since then, they’ve sung those characters together, Feola recalled in a recent video call, “five, six, maybe seven times.” It started in 2013, when Kelsey jumped into the title role of the cursed jester in Verdi’s opera “Rigoletto” in Zurich Feola was in that production, too, as Gilda, the daughter Rigoletto has kept secret. Quinn Kelsey and Rosa Feola are used to playing father and daughter.
0 kommentar(er)
