While he started with a forte tone on “Deh, non parlare al misero,” Chioldi seemed to struggle with connecting the line and there were moments where he could barely reach the higher register. That of course didn’t hurt the scene as it showcased a haunted Rigoletto and also brought out the elderly qualities of the character.īut his lack of a legato line did affect his first duet with Gilda. Instead, the voice sounded harsh and the linesa detached. But he couldn’t quite get a hold of the softer tones during his ensuing monologue “Parisiamo.” The voice started out with a booming timbre that slowly became wearier as Chioldi struggled to find a smooth legato texture. The confrontation with Monterone, showed Chioldi enjoying himself as he tripped Craig Colclough’s Monterone while using his grainy sound to poke fun at Monterone. While he has covered over the years, this was the first time the baritone was singing a lead role on the company’s stage and you could hear some of the nerves in the first act.ĭuring his first entrance, Chioldi sang with thundering crescendos and relished the patter-like music that Verdi wrote for Rigoletto. Last Minute Jump InĬhioldi made his Met debut in 1996 and has not performed with the company since 1997. The result was a performance that took some time to warm up to but ended with a well-deserved standing ovation. As a result, the Metropolitan Opera called in Michael Chioldi, who is currently covering the entire run. While Kelsey successfully went on stage for the opening night, he was forced to cancel the second performance on Jan. ![]() And all eyes were on Quinn Kelsey, who was singing his first Rigoletto at the Met after performing the role to acclaim all over the world. 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.
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