Even the voices of relatively minor roles-notably bass Alexander Tsymbalyuk as murderer Sparafucile and mezzo-soprano Zanda Švēde as his sister Maddelena-excite that inner voice that wants to beg “Please, please do it again!” One senses the masterful baton of conductor Marco Armiliato at work throughout. This Verdi score-so, so beautiful and in that short list of the most popularly recognizable opera repertoire- includes a feast of opportunities for the singers talents to transport us– solos, duets (for example Rigoletto and his daughter singing Figlia, mio Padre!), and the Bella figlia dell’amore quartet in the last Act.
And, in a hindsight that was summoned in the instant when Quinn in his bows flashed his charismatic smile, we realize just how much his voice and acting were a super-magnet pulling us to the music and story in every scene. Lyric Opera stages one of Verdi's most popular operasįor those of us who can summon YouTube born recollections of Pavarotti’s voice singing La donna è mobile easily, it’s not a small feat for a tenor to pierce that ear memory, but Polenzani does and did. If this wasn’t a trifecta of perfection, it was darn close. How amazing that this stunning feeling of experiencing perfection returned in Acts II and III- when both tenor Matthew Polenzani performing as the Duke of Mantua and baritone Quinn Kelsey as Rigoletto similarly sang. This was singing that truly transported as only an operatic voice can do.
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