REVIEWS

"WHEN LA TRAVIATA IS STAGED, IT IS NATURAL FOR THE SPOTLIGHT TO BE ON THE SOPRANO. HOWEVER, THE TMRJ PRODUCTION FOUND IN THE BRAZILIAN TENOR MATHEUS POMPEU AN ALFREDO GERMONT OF THE HIGHEST CALIBER. HIS EXCELLENT LYRIC TENOR VOICE, ENDOWED WITH BRILLIANCE, FRESHNESS, CRYSTALLINE DICTION, AND IMPECCABLE TUNING, FILLED THE AUDITORIUM, SHOWCASING THROUGH GENEROUS PROJECTION THE BEAUTY OF HIS TIMBRE.

FROM THE CELEBRATED BRINDISI SCENE (LIBIAMO NE' LIETI CALICI) AND THE SUBSEQUENT DUET WITH THE SOPRANO (UN DÌ FELICE, ETEREA), POMPEU DELIVERED AN ELECTRIFYING PERFORMANCE TO THE AUDIENCE. HIS ARIAS AND CABALETTA FROM THE SECOND ACT (DE' MIEI BOLLENTI SPIRITI / OH MIO RIMORSO!...OH INFAMIA...) RECEIVED VIGOROUS INTERPRETATIONS. THE ARTIST ALSO CONVEYED THE CHARACTER'S EMOTIONS THROUGHOUT THE OPERA VERY WELL: PASSION, ROMANTIC FERVOR, JEALOUSY, ANGER, UNTIL REACHING THE FINAL SADNESS. A PERFORMANCE TO BE REMEMBERED."

"MATHEUS POMPEU WHO, IN HIS BRIEF INTERVENTIONS AS PASTORE III AND ORFEO'S ECHO, OFFERED US A BEAUTIFUL INSTRUMENT ADJUSTED TO STYLE."

"TENOR MATHEUS POMPEU, WITH AN EXPRESSIVENESS AS FERVENT AS IT IS MELANCHOLY, REVEALS A SATINY AND REFINED TONE, A TOUCH NASAL THOUGH MELODIOUS."

"THIS BEGINS WITH THE PRINCE OF MANTUA, WHICH IN THE SONG LIST MAKES THE BEGINNING. HE SANG A CHARACTER, THE BRAZILIAN MATHEUS POMPEU, WITH A VERY ITALIAN TIMBRE. HIS TENOR WAS VERY GOOD, VERY SKILLED IN ALL THE LINES. HIS AGILE PLAYING ALSO SURPRISED, HE WAS THE FOCAL POINT OF THE DYNAMIC OF THE SOCIETY, DISINGENUOUS, LOYAL AND BRILLIANT. BUT HE WAS ALSO ABLE TO MODIFY HIS UNIQUENESS VERY CLEVERLY."

“THOUGH HE’S NOT PARTICULARLY SUBTLE, MATHEUS POMPEU BRINGS A STRIKING TENOR, VIVID COLOURS AND A SENSE OF STYLE TO CORRADO THE CORSAIR”.

"AMONG THE EXCELLENT SOLOISTS, TENOR MATHEUS POMPEU, WHO PLAYS FRANEK, STRUCK ME AS QUITE OUTSTANDING IN THIS PART IN BOTH STRENGTH AND INTONATION. (...) MATHEUS POMPEU EMERGES AS A GREAT POLISH TENOR WHO PLAYED THE PSYCHOLOGICALLY DEMANDING ROLE OF CORRADO IN GOOD VOICE."

"POMPEU SINGS WITH TENOR RADIANCE AND VOCAL BRILLIANCE, WITHOUT EVER HAVING TO FORCE IT. HE EMBODIES THE EQUALLY POWER-CONSCIOUS AND PLEASURE-SEEKING FACETS OF THE DUKE'S PERSONALITY WITH EASE."

"THE TENOR MATHEUS POMPEU WHO IS A PURE LYRICIST, GIFTED WITH GREAT FACILITY IN THE UPPER REGISTER OF REFINED EMISSION AND FULL OF CHARACTER."

"THE BRAZILIAN TENOR HAS THE BEAUTY OF ACCENTS, INTERPRETIVE ÉLAN AND CONTROL OF PHRASING ON HIS SIDE, WHICH IS FULLY REVEALED IN "FRA GLI ABETI IL VENTO GEME," A TOUCHING ARIA PERVADED BY THE TEARFUL SOUND OF THE OBOE AND GREETED BY THE AUDIENCE'S HEARTFELT APPLAUSE."

"AMONG THE SINGERS, IT IS ESSENTIAL TO MENTION MATHEUS POMPEU AS HALKA'S FRIEND, WHO IS ALLOWED TO KEEP HIS NAME JONTEK ALSO IN THE ITALIAN VERSION. THE BRAZILIAN TENOR SINGS WITH A FESTIVE AND YOUTHFUL EMPHASIS, A VERY NICE TONE (...) AND MATHEUS POMPEU SINGS AN ELEGANT AND AGILE ITALIAN TIMBRE".

"THE HERO JONTEK, A PART TAKEN HERE BY THE EXCITING YOUNG BRAZILIAN TENOR MATHEUS POMPEU, WHO SINGS WITH POWER AND PATHOS AND BRINGS APPEALING COLORS TO JONTEK’S DUMKA/CANZONE."

"MATHEUS POMPEU CONVINCES WITH HIS DELIGHTFUL, MARCH-LIKE TENOR ARIA DOMINE DEUS, WHICH COULD ALSO HAVE ITS PLACE IN ANY ROSSINI OPERA."

"IMMEDIATELY AFTERWARDS CAME THE PLEASANT SURPRISE OF THE FIRST APPEARANCE OF MATHEUS POMPEU, WHO SQUANDERED HIS BRILLIANT, NUANCED, TUNEFUL AND REGULATED VOICE OF A TRUE LYRIC TENOR IN THE GREAT LUISA MILLER ARIA INTONED BY THE OTHER GREAT LYRIC RODOLFO IN THE SECOND ACT" (...) "SI SENYOR!". WITH THESE TWO WORDS, EMPHATICALLY SAID TO HIMSELF, THE ELDERLY GENTLEMAN WHO HAD THE CRITIC SITTING TO HIS RIGHT SYNTHESIZED AND SENTENCED HIS APPROVAL OF THE HEARTFELT AND WELL-SUNG "CHE GELIDA MANINA" FROM PUCCINI'S LA BOHÈME THAT HAD JUST BEEN INTERPRETED BY THE BRAZILIAN TENOR MATHEUS POMPEU. IT WAS, INDEED, ONE OF THE BEST MOMENTS OF A CONCERT IN WHICH ALMOST EVERYTHING WENT WELL."