Performances
The performance archive will now feature my reviews of performances conducted by Richard Bonynge, competitions presided over by Dame Joan and Richard, as well as any re-issued recordings or new books.
Bel Canto in the Park
Roberto Devereux: Opera Holland Park 2nd June 2009
First performed in Naples in 1837, Roberto Devereux is one of four operas by Donizetti inspired by Tudor England, the others being Anna Bolena, Maria Stuarda and Il Castello di Kenilworth. He was not alone, with Rossini, Auber and the improbably named Michele Enrico Francesco Vicente Paolo Carata di Colobrano also similarly influenced. The reasons posited for the popularity of setting the politically turbulent (and undeniably exciting) period of Tudor history to an operatic plot, range from the popularity of Sir Walter Scott's novels to the irresistible opportunity of dramatizing the life of protestant monarchs. This latter reason is all the more compelling when one considers, how the Italian censors would react to the similar treatment of Catholic sovereigns.
As with many of the more famous operas of Donizetti (Roberto Devereux is hardly a rarity today), the success of the performance depends largely on the ability of the heroine to epitomize the ideals of bel canto. This includes immaculate legato, flawless delivery of every possible technical requirement, whether trills, staccati or high notes, beautiful production of tone with an ability to shape the musical line with intelligence and absolute precision. In Opera Holland Park's production, the Irish soprano Majella Cullagh (making her OHP debut) sang Elisabetta, and whilst not encompassing all of these demands, she did put in a fine and spirited performance. The role ideally requires a voice of more weight that Cullagh could muster, especially when it came to the ensembles. You need to hear Elisabetta’s voice riding the ensemble with regal authority, not disappearing into the background. Additionally the voice was prone to becoming somewhat hard edged when pressed, leading to some slightly vinegary notes. Cullagh did however, deliver some very fine moments. The most remarkable of which was a mesmerizing finale. "Quel sangue" was no mere coloratura showpiece, but a sad and reflective insight into Elisabetta's resignation from both royal duty and life. It may have been even better without the tremulous high E-Flat (if it's not securely in your voice, why sing it?), or the somewhat camp Bette Davis cum Edita Gruberova wig removing impersonation!
Yvonne Howard returned to OHP as Sara Duchessa di Nottingham, one of the four roles embroiled in this love quadrangle. Although very much in mezzo mode here, I kept wondering whether she should essay the role of Elisabetta at some point. After her recent and wonderful Norma with English Touring Opera, I am now convinced her transition to soprano roles is the right move for her voice at this stage in her career. As Sara, there was certainly plenty of power in the voice, plus the technical demands were surmounted with complete confidence. But Sara is a rather insipid character, so there isn't an awful lot which can be drawn out, except for the audience's sympathy for her treatment at the hands of her husband.
Leonardo Capalbo was an effective Roberto, singing with an attractive if not necessarily distinguished voice. He did excel in the prison scene in Act III, producing some theatrical and meaty tone. This is one of the highlights of the opera, marred only by a jaunty and ridiculous cabaletta. Despite the fact that Donizetti's work had matured significantly by this point, with some truly wonderful ensemble pieces on display, the temptation to succumb to vocal exhibitionism seemed to have got the better of him! More interesting is the realisation that the opening to this scene is unexpectedly familiar. Verdi reproduced it in Ulrica's incantation scene in Un Ballo in Maschera!
Julian Hubbard was a fine Duca di Nottingham, but perhaps needed that extra ounce of villainy to convince us of his more sadistic tendencies. His Act III duet with Sara needs to be suffused with incandescent rage, hostility and unpleasantness. Instead we witnessed a man verging on the boil, but invariably tepid when he should have been blistering.
The smaller roles were well cast and the chorus distinguished themselves with some excellent singing, if not a little trouble with one of the props! The orchestra was exceptionally good, playing under the direction of Richard Bonynge in his OHP debut. There is probably no one more qualified to conduct a bel canto opera than Richard Bonynge. His immense experience was clear to everyone present, and the orchestra reacted by playing better than I have ever heard before.
Lindsay Posner's production was elegant and traditional, with the set for the Great Hall at Westminster also serving as a cell in the Tower of London and the Palace of Nottingham. A black and white chequer board effect floor was complimented with numerous candles for lighting. The whole ambience was simple yet effective. The costumes were also traditional, with Elisabetta wearing a particularly impressive regal gown, which spoke volumes about the cult of Gloriana.
The production can certainly be counted as a real success, but perhaps the biggest surprise of the evening came off stage, when following the interval there were roars of delight and standing ovations for the arrival of a legendary musical icon, Dame Joan Sutherland. Escorted to her seat by her close friend Dame Norma Major, La Stupenda graciously waved to the audience. As for the cast, heaven only knows what they must have thought when they realized that in the audience was a woman who has set standards in bel canto singing, which have never been matched, let alone surpassed! Nevertheless they acquitted themselves well and I hope to hear more bel canto gems from OHP in the future.
Performances take place on the 4th, 6th, 10th, 12th, 18th and 20th of June. Richard Bonynge will not be conducting on the 10th of June, instead the performance will be led by Richard Burgess Ellis. To book your tickets go to: www.operahollandpark.com
