Werther / Opera Australia
“Starting with his earnest love for Charlotte, and finishing with his despair and then suicide, Fabiano always seemed effortlessly in control of his voice, much to the enjoyment of the enthusiastic house. As with most modern leads, Fabiano acts his role to a very high standard such that the audience emphasises with him as his suffering takes its toll on him.”
“Fabiano sang Werther with lyric chestnut sound of polished focus amid the domestic serenity of the early acts, building to powerful declamation of soaring intensity in the third, and convincing expressive weight in the denouement. It was well-suited to the self-dramatising nature of a character who always seems to be showing the audience his nobly suffering profile.”
“…the real triumph of this role debut lay in controlling the bold intensity of his voice so frequently, in favour of a sweet and lower-key level of passion – a match for Massenet’s frequent choice of the cello (played by Teije Hylkema) to underline deep feelings. This was especially the case in Werther’s gloriously quiet arrival song on Christmas Eve in Act 3, such a contrast to Charlotte’s black-clad angst as she decorates the Weihnachtsabend table and declares that “all thoughts are of him” (with cello).”
“…the American tenor embodies the love-sick Werther with agonous, full-throated impact. His act three aria, ‘Pourquoi me réveiller?’, is a masterclass in clarion leading-man singing.”
“Michael Fabiano’s vocal strength and quality, combined with his outstanding acting ability and stage presence had the audience enthralled.”
