Ambroise Thomas, Hamlet, “O vin, dissipe la tristesse”

Ricardo José Rivera, baritone (Hamlet)

Companies in recent decades have increasingly recognized the considerable virtues of Hamlet by Ambroise Thomas (1811-1896). The French composer was a key figure during the decades of France’s supremacy in the realm of grand opéra (barnstorming dramas, often historical in their dramatic content, generally encompassing five acts including a ballet). Sadly, we know precious little of Thomas’s music today. In the early twentieth century, his Mignon was still hugely popular, but now that work is rarely heard. Hamlet (1868), on the other hand, continues to attract charismatic, vocally gifted lyric baritones. That’s no surprise, since it’s an exceptionally rewarding role both musically and dramatically. Thomas went wildly against Shakespeare’s original play; although he does kill his uncle Claudius, he’s not only alive at the end, but proclaimed king! By the way, for the 1869 British premiere the composer created a shorter ending that had Hamlet dying at the end, as in Shakespeare.

Along with the heroine Ophélie’s mad scene, the only familiar music from the opera is Hamlet’s drinking song. He sings it prior to the performance of the troupe of actors he’s engaged to perform The Murder of Gonzaga for his mother, Queen Gertrude, and Claudius, her husband (whom Hamlet suspects of his own father’s murder). The drinking song, almost wild in its exuberance, has the prince praising the glories of wine with the hope that it will rid him of sadness. The song is infectious in its lively refrain, and is graced by a florid cadenza before the repeat.

Photos: Kyle Flubacker