Sarah Dufresne's Ophélie steals the show in Opéra de Montréal's Hamlet

Opéra de Montréal gambled that a production of Ambroise Thomas’ largely unknown Hamlet would draw well. This grand opera blends Shakespearean tragedy with the lush musical idioms of 19th-century French opera. Thomas’ score is a masterful synthesis of dramatic gravitas and melodic elegance, employing rich orchestration and compelling arias to convey the psychological complexity of its characters. Though liberties are taken with the source material – most strikingly its ending in which Hamlet is not killed – the opera encapsulates the Romantic era’s fascination with tragic heroism. The work constitutes a masterful reimagining of Shakespeare’s masterpiece within the operatic canon.

In Alain Gauthier's production, it was Sarah Dufresne's portrayal of Ophélie that held the audience spellbound. This Canadian, still in her twenties, is on her way to garnering international acclaim. Prior to two years on the Jette Parker Artists Programme at the Royal Opera House, she was a resident artist at the Atelier lyrique de l’Opéra de Montréal. Her impressive vocal prowess, coupled with a superbly honed dramatic talent, were abundantly evident. Undoubtedly the high point of this performance was the Act 4 depiction of Ophélie's descent into madness and her subsequent suicide. The extreme coloratura demands require a soprano with extraordinary vocal agility and Dufresne rose to the challenge, Ophélie's sense of anguish palpable. The audience reacted with an outburst that was both effusive and protracted. 

Another standout was French mezzo Karine Deshayes, who was the strongest singer on stage, exploiting her expansive vocal palette to transmit the gripping emotions that envelop Queen Gertrude as the traumatic story unfolds.

The supporting cast of Montreal area artists, although less impressive, were laudable, all soaring over the full symphony orchestra. A further example of homegrown talent rising to the occasion was the Chœur de l'Opéra de Montréal, ably prepared by Claude Webster. Although occasionally overpowered by their outstanding soprano section, this ensemble raised the bar each and every time they took to the stage. 

Baritone Elliot Madore was less successful in the title role. On this night and in this acoustic, his voice did not have the carrying power to do justice to the part. A notable exception occurred in Act 3 when Hamlet unleashes the rage he harbours towards his mother and uncle; here Madore carried the scene in a manner commensurate with his rising star status on the North American opera scene.

Dramatic impact in general is impaired by Gauthier's blocking, which too often has his singers positioned very far apart. When the characters move, it often appears unnatural and contrived. This limits the audience's capacity to fully appreciate the patchwork of feelings that characterise Hamlet, Ophélie, Gertrude and Claudius. Sarah Balleux's period costumes are appealing, particularly the flowing white robe Ophélie donned in Act 4.

Frédérick Ouellet's simple set serves the production well, consisting of moveable castle walls coupled with a raised central platform. A scrim, which functions as the platform's curtain, is lit in various ways that heightens dramatic action. The evocative depiction of Ophélie's crossing into an ethereal, billowy expanse at the end of her life is particularly effective.

Montreal's Orchestre Métropolitain afforded themselves well in this rarely played and occasionally tricky score. In general, we could have heard more from the violins; additionally the singers were occasionally buried when the orchestration was dense. Cavils aside, conductor Jacques Lacombe engineered a solid and for the most part judiciously balanced reading.

North American cities with a population of less than five million typically struggle to mount full-scale opera productions of professional calibre. This performance of Hamlet was well attended and effusively received. Kudos to Opéra de Montréal on their having successfully cultivated a supportive base for live opera in their city.