Editorial Board
MusicWeb International
Founding Editor Rob Barnett Editor in Chief
John Quinn Contributing Editor Ralph Moore Webmaster
David Barker Postmaster
Jonathan Woolf MusicWeb Founder Len Mullenger
Gaetano DONIZETTI (1797-1868) Roberto Devereux - lyric tragedy in three acts (1837)
Elisabetta, Queen of England - Dimitra Theodossiou (soprano); Roberto
Devereux, Earl of Essex - Massimiliano Pisapia (tenor); Sara, Duchess
of Nottingham - Federica Bragaglia (mezzo); Duke of Nottingham -
Andrew Schroeder (baritone); Lord Cecil - Luigi Albani (tenor);
Sir Walter Raleigh - Giorgio Valerio (bass) Chorus and
Orchestra of the Bergamo Music Festival/Marcello Rota
rec. live, Teatro Donizetti, Italy, September 2006
Directed by Francesco Belloto; Video director, Matteo Ricchetti;
Sets and Costumes by David Walker
Recorded aspect 16:9. Dolby Digital 2.0 Stereo. Dolby Surround 5.0
Presented in dts digital surround sound, Dolby, PCM 2.0. Vision
16:9 Colour. NTSC NAXOS DVD
2.110232 [134:00]
Roberto Devereux was the inaugural production at the 2006
Bergamo Music Festival, previously the Festival Donizetti. Like
the other two productions that year, Anna Bolena and Lucia
di Lammermoor (see review)
it has made it onto DVD; the other two have previously been issued
by Dynamic. Like Naxos's DVD of Rossini's La Cambiale
di Matrimonio (see review),
this Roberto Devereux is also issued under licence from Dynamic.
A welcome Naxos advantage over the Dynamic counterparts is artist
profiles, albeit only in English. There are also full track-listings
for the dual-layered DVD, a brief essay on Donizetti's life
and an act-by-act synopsis, both given in English and German.
Roberto Devereux was Donizetti's fifty-third opera. It
was one of three, loosely based on the life of Elisabeth the first
of England, and with much licence in respect of historical fact.
It was premiered in Naples in 1837 two years after his highly successful
Lucia di Lammermoor at the same theatre. It was written in
the most fraught periods of the composer's life. These involved
the stillbirth of a son, the third consecutive post-partem death
his wife had suffered. Her own demise followed a few weeks later
from the complications of measles in her weak condition. Both deaths
were probably connected to the syphilis that Donizetti carried,
and doubtless transmitted to his wife. The tertiary stage of this
infection was the cause of Donizetti's mental deterioration
and institutionalisation less than ten years later. It contributed
to his early death aged 51. With the benefit of hindsight many commentators
have ascribed the undoubted intensity of musical power and compositional
complexity, not found in his earlier works, to the personal tragedies
endured during the composition. Others, of a more cynical bent have
described the work as Lucia without the tunes! Whilst not
denying Lucia's popularity, it lacks the musical cohesiveness
found in Roberto Devereux that in many ways relates to the
earlier Anna Bolena (1830). Certainly by the mid-1830s, and
in full command of his dramatic gifts, Donizetti had begun to subordinate
mere vocal display to the needs of the drama. Cohesiveness and dramatic
intensity are the strengths of Roberto Devereux.
The libretto of Roberto Devereux was by Salvatore Cammarano
who stood the same service for Lucia and five other operas
composed by Donizetti between 1836 and 1838. Though pandering to
the 19th century Italian romantic taste for tales of
Tudor England, which allowed for period costumes, Kings, Queens,
dungeons and great romantic passions, in reality the plot was taken
from a French tragedy by Jacques Ancelot. Mercadante had earlier
set Ancelot's text to music to a libretto by Felice Romani (1833).
Cammarano's libretto is clear in action and characterisation.
Roberto Devereux was a resounding success at its premiere
and quickly spread around Italy and was performed in Paris (1838),
London, Brussels and Amsterdam (all in 1840), and New York (1863).
In simple form the plot concerns variations on a normal operatic
love triangle. Queen Elisabetta loves Roberto, who in turn loves
Sara. The Queen forced Sara to marry the Duke of Nottingham whilst
Roberto was away fighting in Ireland. On his return Roberto is accused
of treachery and threatened with death by Parliament. The Queen
assures him that if ever his life is in danger he has only to return
a ring she had given him so as to ensure his safety. Roberto subsequently
gives the ring to Sara in an exchange of tokens. Her husband, who
believes her guilty of infidelity with his erstwhile friend, prevents
Sara from delivering it to the queen. Meanwhile in a powerful prison
scene Roberto awaits his release on delivery of the ring. By the
time the Queen discovers the reason for the ring's non-arrival
Roberto has been executed. In a perversion of history, as Elisabetta
despairs at the execution of Roberto, she concedes her throne to
James.
The designs and costumes of this traditional production are attributed
on the box to David Walker. This does not tell the whole story,
for which the viewer has to look carefully at the concluding credits,
given in Italian. As I understand it the production originated at
the Rome Opera and has been re-created and costumed for the Bergamo
Festival performances. The new costumes by Cristina Aceti are in
vivid colours and contrast with the rather dull drapes and backcloths
in parts of the production. They might be dull, but they are appropriate.
Elsewhere, imaginative use of opened curtains to reveal arches and
garden pedestals add realism. The director moves the plot on without
gimmicks and the video director is circumspect in his use of close-ups
and the occasional superimposition. Add to these virtues some outstanding
singing and acting, particularly from Dimitra Theodossiou as Elisabetta,
and the performance has much to commend it. The Greek Dimitra Theodossiou
must be tired of comparisons with Callas, particularly in this repertory
in which her predecessor made such an impact early in her career.
Her virtues include good diction allied to a clear and open tone
without occluded notes. Dimitra Theodossiou's voice is large
and if not as beautiful or as smooth between the registers as Caballé,
her acting ability compensates. She can, and does fine her large
voice down for intimate moments, but it is in the big dramatic scenes
such as the signing of Roberto's death warrant (CH.16) and the
finale (CHs.22-25) that her dark dramatic chest tone and wide variety
of vocal colour and expression, allied to her acting prowess, come
to the fore. These qualities combine to give an outstanding performance.
In the eponymous role, Massimiliano Pisapia uses his voice without
much variation of colour or modulation. He can sing softly and does
so at the start of the second aria of the dungeon scene (CH.21),
but far too often he sings at full throttle and without much grace
of phrasing or vocal expression. His figure, especially when in
shirt rather than with cloak, is hardly that of a fighting soldier
or romantic lover! The young American baritone Andrew Schroeder
as the Duke of Nottingham sings strongly and acts well, whether
defending his friend Roberto (CH.8), demanding a sword to fight
him (CH. 16) or when he believes that he has been deceived by his
wife and denies her the opportunity to return Roberto's ring
to the Queen and thus save his life (CH.17). Schroeder does not
have the ringing top to his voice of his illustrious predecessor
Sherrill Milnes, but his assumption is a vocal and well-portrayed
strength to the production. Schroeder is made up to look a little
too old for his young wife Sara sung by Federica Bragaglia. She
acts well and has a pleasing tone, good legato as well as variety
of colour and expression (CHs.2 and 18) to give a pleasing overall
interpretation.
The Bergamo Festival Chorus sings with vibrancy, whilst the orchestra
play Donizetti's music mellifluously under Marcello Rota's
idiomatic and well-paced interpretation. Cynics may say Roberto
Devereux is Lucia without tunes, in reality it is an
opera of high drama not lacking in melody. It is more in line with
the composer's first international success, Anna Bolena,
and none the worse for that. This performance, with its traditional
set, opulent costumes and direct production, can but add to its
reputation.
Reviews
from previous months Join the mailing list and receive a hyperlinked weekly update on the
discs reviewed. details We welcome feedback on our reviews. Please use the Bulletin
Board
Please paste in the first line of your comments the URL of the review to
which you refer.