Washington National Opera’s ‘Hamlet’ done in Cold War style

But director/designer Thaddeus Strassberger had a clear vision for this “Hamlet,” and the result is an outstanding production, in which Thomas’ lush, Romantic music complements Strassberger’s 20th-century setting and vice versa.

Thomas’ Hamlet is a quintessential Romantic hero, unable to shake his sense of alienation once he discovers that his uncle and mother have killed his father, then married within two months of the murder. So it’s fitting to find him in a Cold War environment, where secrets and mysteries abound, where lies and deception lurk around every corner.

Baritone Michael Chioldi is magnificent as Hamlet, a young man who is less mad than full of rage. Chioldi sings a wide range of music throughout the opera, most notably a melancholy recitative lamenting his situation, a moving love duet with Ophelie in the first act, a rousing drinking song, as well as the beautiful aria “To Be or Not to Be.” Chioldi handles this variety easily, exhibiting great strength, sensitivity and nuance. Thomas’ Ophelie is, like Hamlet, a virtuous, pure soul, and Elizabeth Futral plays her to perfection. Her crystal clear soprano voice is impressive in the first few duets with Hamlet and his mother, but Futral’s supreme achievement is Ophelie’s mad scene just before she drowns. Wearing a long gray and white gown, moving near the river, Futral exhibits grief, petulance and childishness, then launches into a stunning coloratura performance of Thomas’ musical fireworks. Act 4 ends with a heart-rending reprise of Ophelie’s and Hamlet’s early love duet as Ophelie, suspended midair, is carried away by the current.

Hamlet’s mother, Gertrude, is played by the commanding mezzo-soprano Elizabeth Bishop, who portrays Hamlet’s mother as a determined woman who gets what she wants. Yet Bishop’s Gertrude is a complex character, who retains love for her son despite her role as murderess. Bishop makes that contradiction credible.

As Hamlet’s father-in-law, Claudius, Samuel Ramey provides just the right tone as the unfeeling, controlling usurper of both the throne and the queen’s heart. Ramey’s ability to hit the deepest of Thomas’ deep notes is a reminder of how well Thomas created his villainous characters. In addition to the four main roles, Thomas gave some lovely music to Laertes. Although it is a small part, John Tessier performs it admirably.

Strassberger’s use of the chorus (under the direction of Steven Gathman) is extremely effective. The opera opens with a solemn procession — the burial of King Hamlet — followed by lively demonstrations of citizens who gather in the aisles to see their new king crowned. It sets a jubilant tone for the opera until Hamlet stalks off, setting his drama in motion.

Mary Traylor’s costumes are a delight, from Gertrude’s jarringly gauche outfits that put her at odds with her suffering countrymen to Ophelie’s pretty pastel dresses and gowns. Strassberger’s set is a deteriorating, concrete, coliseumlike structure. Mark McCullough’s lighting allows it to serve as the place of coronation, King Hamlet’s mausoleum and the castle of Elsinore during a celebration, with chandeliers casting a festive glow.

With his varied musical palette — from the gloomy Invocation of the Ghost to Hamlet to Ophelie’s Mad Scene — and his ability to create just the right music for the right person at the right time, Thomas created a masterful opera. And Strassberger and the Washington National Opera deserve credit for allowing access to his work through this exciting, innovative production.