As noted Simon Mechlinski performed the role of the Count de Luna and, just like with the duet, he was captivating throughout the evening. The moment he entered singing his “Tacea la notte” his voice was filled with elegance and beauty. These lines were sung with a melting expression. But in the trio that all changed and his voice gained strength and his breath control was striking as he sang the patterlike staccato phrasing with ease and with such increíble enunciation and diction. Here his tone boomed with anger and force. This was just a warmup for the aria to come.   His “Il balen del suo sorriso” was a masterclass in breath control and sustaining lines. From the moment he started the aria, the voice was ardent with expression. His Count was romantic in every way and for these four minutes, one forgot that he was the villain of the opera. His melting baritone could go from a gorgeous mezzopiano to a passionate forte and each note was impeccably connected. Then after the passion of the aria came the cabaletta “Per me ora fatale.” Here the smoldering ardor was back but coupled with strength and drive. Each time he would push the tempo forward to emphasize his power. And what was so impressive about Mechlinski…on the repeat of the cabaletta, his breath control got better and his vocal quality gained strength.   In the second part, during the “In braccio al mio rival,” the baritone sang with a sardonic tone that brought out the villainous quality of the character and showed his power over Azucena. But in their next interaction at the end of the opera, his final lines “E vivo ancor!” the bartone sang with remorse and madness. It was by far one of the best Count interpretations I have seen