Rigoletto / Lyric Opera of Chicago

Hedy Weiss

Chicago Sun Times

Polenzani’s lustrous tenor shines throughout, most notably in his unapologetic, philosophy-defining aria,  La donna è mobile.

Polenzani was just as inspired as the licentious Duke. Is there a finer lyric tenor currently singing anywhere before the public? Not likely. The Evanston native is at his artistic peak and from his hearty “Questo o quella” on, he sang with rich, vibrant tone and easy agility. A superb actor, Polenzani even managed to make the Duke less odious than usual, conveying a heartfelt–if fleeting–affection for Gilda in “Parmi veder le lagrime,” sung with golden tone and ardent lyricism. In his robustly cynical “La donna è mobile,” Polenzani threw off a note-perfect trill, timing it perfectly to plant a kiss on Maddalena with the final chord.

Lawrence A. Johnson – Chicago Classical Review

“The duke may be an odious womanizer and cad, but Polenzani sang the serial seducer so impeccably and played him so passionately as to turn his severe character flaws into charming positives. The always musical tenor nailed both of his big arias — “Questa o quella” and the famous “La donna e mobile” — with bright sound, secure vocal placement and the phrasing of a born Verdian.”

John von Rhein – Chicago Tribune

“Polenzani’s lustrous tenor shines throughout, most notably in his unapologetic, philosophy-defining aria,  “La donna e mobile.”

Hedy Weiss – Chicago Sun Times