persuasively performed by baritone Michael Chioldi, who offered an admirable evenness and warmth of tone, consistently sensitive phrasing. A little more volume would have been welcome in places, but this was still very potent singing. His acting, too, hit home. He conveyed the character's brush with madness tellingly, and, in the confrontation with the frightened Gertrude (one of the opera's most inspired passages), Chioldi hit a dramatic peak to match the vividness of his vocalism. Elizabeth Futral was a tender, sympathetic Ophelie and, occasional graininess aside, sang with considerable beauty and nuance. Her colorful delivery of the mad scene set off a remarkable ovation.