Quinn Kelsey’s Unique and Gripping Rigoletto at the Metropolitan Opera
Set in 1920s Germany, during the Weimar Republic, Bartlett Sher’s production of Rigoletto reopened at the Metropolitan Opera under the adept baton of maestro Pier Giorgio Morandi. Maestro Morandi elicited a wide range of musical colors from the orchestra while remaining thoughtful of the singers and keeping a current of passionate, brisk energy running through the entire performance. The chorus proved their mastery, as always, especially in the courtiers’ choir that resounded both fluid and crisp, in ideal sync in both diction and dynamics.
Quinn Kelsey brought theater into the title, and not just theater, but Greek tragedy. Within the luxurious Verdian phrases, he constructed a declamatory arc that made his delivery direct and visceral without detracting from the actual singing. At times, his outpourings made one think of the intense recitations of Greek drama. His is a unique voice that thrives on the emotions he infuses into every phrase. Every second on stage he was constantly in character, never letting up for one second. Rigoletto’s emotions read not just in his voice but it his entire body language. Kelsey’s characterization of this tormented role was so complete that even a simple gesture of the head, a step, a movement of leaning forward, everything contributed to his living the character in every moment. As the buffoon, he was brutal in his mocking of Ceprano and Monterone, and then succeeded in turning deeply introspective in “Pari siamo”. His is not one of those silky baritone voices, although he can sound like melted chocolate, and he did, especially in the moments of tenderness with Gilda.
Nadine Sierra as Gilda and Quinn Kelsey as Rigoletto (Photo: Nina Wurtzel / Met Opera)
Overall, the intense appeal of Kelsey’s declamatory directness, and the unfiltered emotions flew straight into a listener’s solar plexus. There was no need to “process” his interpretation. It was all there to be felt instantly; it had an in-your-face, present urgency, demanding participation from the audience in his rage and anguish as well as his immense love for his daughter. In the first two duets with Gilda, “Figlia” and later “Parla, siam soli”, that demanding urgency mellowed and acquired a sweet, intimate quality that soothed in “Veglia o donna” and tugged at the heartstrings in “Piangi”. His “Cortigani” burst out in torrents of fury, and during the “Ah! Ebben, piango… Marullo, signore”, Kelsey cleverly kept just a touch of hardness underneath the soft, entreating colors, showing his suppressed disdain at the courtiers. In the final duet with Gilda, the baritone poured Rigoletto’s heartbreak and desperation into “Non morir”, and the final “maledizione” rang out like a bell of doom.
Nadine Sierra’s Gilda sounded womanly rather than girlish and proved most affecting in the later part of the opera as she progressed from innocent joy and infatuation to experience and sorrow. Physically, she can still convey the young girl, but vocally it seemed like she was making an effort to transmit the naiveté of the character. Sierra’s voice is rich and substantive, capable of communicating complex emotions. “Caro nome” was gorgeously sung although at times it sounded like Sierra has outgrown this role. With her soulful rendition of “Tutte le feste al tempio”, she delved into the more profound aspects of Gilda, and from there on, she reigned supreme. The ensuing duet with Rigoletto was one of the most touching moments of the evening. The interaction between Sierra and Kelsey, vocally and theatrically, was indeed what Verdi must have had in mind when portraying the father-daughter relationship: vulnerability and pain in Sierra’s plaintive, burnished tones and protective paternal tenderness in Kelsey’s caressing phrasing. In the “Si, vendetta,” Kelsey’s stirring, ominous vocal outpourings were matched by Sierra’s anguished pleading, at once vocally exciting and heartbreaking. In the final act quartet, Sierra soared on shimmering lines tinged with darkness. Her ending duet with Kelsey once more captured the moving chemistry between these two singers in these roles and resounded sublime and emotionally shattering.
Nadine Sierra as Gilda and Stephen Costello as the Duke of Mantua (Photo: Nina Wurtzel / Met Opera)
Stephen Costello’s Duke came across as virile and vibrantly toned, yet he was a bit too stiff in demeanor and careless in phrasing to fully convey the ardent, playful, lustful nature of the character. His voice has an inherent beauty that impressed from the very first sounds in “Questa o quella”. That beauty could be both an advantage and detriment, as he may be coasting too much on his attractive sound and not pay attention to details. This was obvious in some bad habits like not attacking certain notes directly but rather scooping into them or using too much glissando between notes. He was at his best in “Ella mi fu rapita”, where his attractive sheen and roundness of tone were infused with more emotion and passion than in the rest of the performance, and his phrasing was elegant and fluid. The ensuing cabaletta sounded too throaty and confined, and “La donna è mobile” while resonantly radiant, needed more playfulness and largesse.
As Monterone, Jordan Shanahan transmitted both weariness and rage, sounding chilling in his cursing of Rigoletto. Eve Gigliotti brought her impressive sound to Giovanna, and gave the character a cynical, shrewd allure. Soloman Howard endowed Sparafucile with an abundantly magnificent vocality, making one wish that the role were bigger and he had more to sing. J’Nai Bridges was a sly, earthy Maddalena.
Overall, this production works, because it provides a distraction-free frame for the drama. And Quinn Kelsey’s unique and gripping approach to the iconic Verdian role of Rigoletto is a must-see, at least once.
Verdi’s Rigoletto at the Metropolitan Opera with this cast runs through November 8.
Top: Quinn Kelsey as Rigoletto – Photo: Ken Howard / Met Opera
