EditorialAs stagehands break down the set of “The Rake’s Progress,” the red and gold set of “Rigoletto” is readied for the evening on the final day of performances at the Metropolitan Opera in New York, June 11, 2022. (Justin J Wee/The New York Times)
EditorialThe soprano Rosa Feola, right, wore a mask as she was fitted for a costume for “Rigoletto” designed by Catherine Zuber, left, at the Metropolitan Opera in New York on Dec. 14, 2021. (Julieta Cervantes/The New York Times)
EditorialQuinn Kelsey, standing, Craig Colclough and others all wear masks while rehearsing for ?Rigoletto,? at the Metropolitan Opera in New York, Dec. 14, 2021. (Julieta Cervantes/The New York Times)
EditorialQuinn Kelsey, left, and Rosa Feola as the father-daughter roles of Rigoletto and Gilda in a new production of “Rigoletto” at the Metropolitan Opera in New York, Dec. 31, 2021. (Richard Termine/The New York Times)
EditorialA scene on a rotating set, which makes for smooth transitions between scenes, of Bartlett Sher?s new staging of Verdi?s classic drama ?Rigoletto,? at the Metropolitan Opera in New York, Dec. 31, 2021. (Richard Termine/The New York Times)
EditorialThe director Bartlett Sher, left, rehearses his staging of “Rigoletto,” with Sylvia D’Eramo and?Piotr Beczala at the Metropolitan Opera in New York, Dec. 14, 2021. (Julieta Cervantes/The New York Times)
EditorialNello Santi conducts the Metropolitan Opera in Verdi's "Rigoletto," on the Great Lawn of Central Park in New York, June 13, 2000. (G. Paul Burnett/The New York Times)