Cinira Polonio News
composer
- Portugal
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2024-04-21
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2016-05-18 18:55:01
“This is the very ecstasy of love”
[…] True, Faccio sticks him with some unrelieved arioso in the chapel scene, but Mix sang it more drily than he needs to, and his whole attitude seemed a bit youthful for the role. Matthew Vickers sang Laerte effectively and dueled like a maniac, which was good because so did Kohl and one of them was going to get cut. Both, actually. (Fight choreographer is the new title and well earned: Lewis Shaw.) Harold Wilson sang Polonio, barely noticeable in this version of the tale, and also the Gravedigger, who gets a song and a star turn that delighted everyone up for comic relief in the long, tense final act. José Sacin was impressive whenever he sang during the small role of Marcello. OperaDelaware offered me a hotel room if I’d stick around for the matinee of Falstaff the next day. So I stuck, though I’d have preferred an encore of […]
2014-10-07 14:00:41
Sweet prince
[…] while he smiles. A witty touch, typical of Boito’s sidelong jokes in Mefistofele, is the play-within-a-play, set in a prettily antique style. Older courtiers exclaim over the beauty of the singing and younger ones complain about the old-fashioned music. What develops, when Claudio recognizes the story as his own, is an old-fashioned end-of-the-act concertato. The scene in the Queen’s Closet is one of the tightest and deftest. Blank verse takes us through the murder of Polonio (baritone Jeffrey Grayson Gates, who doubled as the merry Gravedigger) and the mother-son confrontation, exploding into furious, sarcastic song for Amleto, satirizing the king. Then enter the Ghost (bass Matthew Curran, in a noble performance) for a verse admonition that became a lively trio. And why not have them all sing at once? It’s an exciting tune and there is no new information requiring words to convey it. When prince and Ghost depart, Geltrude […]
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