Roberto Devereux – Teatro Donizetti, Bergamo

Director Stephen Langridge delightfully breathes new life into Donizetti’s three-act lyrical tragedy in this new production by the Fondazione Teatro Donizetti in co-production with the Teatro Sociale di Rovigo, and which, in spite of its title, is all about two women: one loved and one scorned, and the resulting danger that ensues.

In late 16^th C London, Elizabetta I (Jessica Pratt) feels neglected by Roberto Devereux (John Osborn), Earl of Essex, with whom she is madly in love. Two of the Queen’s advisors, Lord Cecil (David Astorga) and Raleigh (Ignas Malnikas), Essex’s enemies, ask her to charge him with treason for his lenient behaviour in the war against Spain. Elisabetta receives Roberto, who is detached and reserved.

The Duke of Nottingham (Simone Piazzole) is concerned by the sadness of his wife Sara (Raffaella Lupinacci) whom he has spotted embroidering a blue scarf, and he confides in Essex, without realising that his friend is himself in love with Sara. On a late-night rendezvous with Sara, Essex reproaches her for marrying Nottingham whilst Sara reproaches him for wearing a ring on his finger given to him by the Queen, as a pledge of mercy in the event of his conviction. As a parting gift, Essex gives Sara Elisabetta’s ring, and she hands him her scarf.

Despite Nottingham’s impassioned defence of Essex, he is found guilty and sentenced to death. When Nottingham asks the Queen for a pardon for his friend, she shows him the blue scarf found in Essex’s possession at the time of his arrest, and the truth is revealed. Or is it? Can Nottingham overcome his apparent double betrayal? Is there time for Sara to return the ring to Essex that will secure his release? Will the Queen overcome her own jealousy and free the man she loves?

Katie Davenport’s set and costume design, complemented by Peter Mumford’s lighting design, set the scene perfectly for Tudor England, with the chorus suitably dressed in black and white puritan style as Parliamentarians, whilst the scarlet red of the Queen’s throne and Sara’s bed stood out proudly in contrast, reflecting two sides of the same coin: love and danger.

I’m always a little cautious of directorial enhancements as there is a tendency to get in the way of the real drama but Langridge’s additions are well thought through. The use of a puppet, animated by Noemi Giannico and Matteo Moglianesi, to represent death was inspired and quite haunting as it roamed throughout the court to signify that no one on this stage was safe from its consequences. I also particularly enjoyed the projected love letters in Elizabethan English that fulfilled the dual role of providing some necessary back story to Essex and Sara’s relationship as well as resonating strongly with the theme of love that underpins the drama, while instrumental only sections of the opera were delivered.

Conductor Riccardo Frizza led the Orchestra Donizetti Opera delightfully, building up the tempo slowly before its impassioned explosion matches emotion of the unravelling action on stage. The link with the Coro dell’Accademia Teatro alla Scala who were in fine voice throughout under the direction of choirmaster Salvo Sgrò, was superb, dramatic, and moving.

All the cast performed strongly with some fine solos and duets. Piazzola was in good voice mastering the complexities confronting his character whilst Lupinacci sung strongly from the start with some impressive vocalisation.

Pratt had the look of Elizabetta perfectly with her white visage, ginger hair and high forehead, and was matched by an equally strong vocal, very much saving her best until the last with an impressive closing solo that deservedly heard cries of encore, by which time she had given her all both within the play and her own performance.

Osborn mastered the role of a man effectively caught between a rock and a hard place perfectly in a subtly nuanced performance which was topped by the wonderfully angelic spirit of his Act III solo, which resounded to cries of encore at its completion and much to the delight of the audience was repeated: bravo!

Performed in Italian with both Italian and English surtitles, Roberto Devereux is one of three operas performing as part of the Donizetti Opera Festival in Bergamo from 14^th November through to 1^st December. Further details https://www.donizetti.org/en/festival-donizetti/donizetti-opera-2024/

Reviewer: Mark Davoren

Reviewed: 23^rd November 2024

North West End UK Rating: