The Majesty of Opera: A Dive into Roberto Devereux
Opera is more than just a performance; it’s a culmination of emotion, artistry, and storytelling through music. This season, El Palau de les Arts in Valencia proudly showcased one of the exquisite operas by Gaetano Donizetti—Roberto Devereux. Unraveling the intricacies of this production provides insight not only into its historical context but also into the artistic challenges faced during its creation and performance.
The Historical Context of Roberto Devereux
First performed in 1837, Roberto Devereux is the 57th opera out of Donizetti’s impressive 70 compositions. The narrative is steeped in British history, spotlighting the tumultuous relationship between Queen Elizabeth I and the titular Roberto Devereux, the Earl of Essex. Despite its captivating storyline, the opera remains less prominent in the repertory, primarily due to its demanding lead roles and a somewhat flimsy dramatic structure. At the time of its debut, Donizetti was grappling with profound personal grief; he had lost both of his parents and his wife within a year. To add to the struggles, Naples was grappling with a severe cholera epidemic, affecting the health of his leading performers.
The Characters and Performance
The narrative unfolds a power struggle between Queen Elizabeth, portrayed by the talented Eleonora Buratto, and the Duchess Sara, played by Silvia Tro Santafé. Their competition for the affection of Roberto, brought to life by tenor Ismael Jordi, incites drama and emotional depth. The portrayal of the Duke, characterized by baritone Ludovico Filippo Modestov, adds another dimension to the unfolding tensions. However, as Kobbé outlines, the opera relies heavily on its vocal performances, and, in this case, the female roles certainly outshine their male counterparts.
Vocal Mastery
The performance began with an impressive display of talent. Buratto and Tro Santafé delivered sublime vocal interpretations, capturing the audience’s attention and eliciting applause after powerful arias. While Jordi’s portrayal of Roberto was commendable, some critics noted his performance lacked the charisma needed for such a pivotal role. Modestov’s presence, while competent, felt less impactful, particularly in his post-intermission fury, which, instead of igniting passion, displayed an inconsistent level of intensity.
The Direction and Set Design
The direction by Jetske Miljnsen took a bold approach, setting the opera in a bourgeois environment that veiled its epic origins. This deliberate choice to strip the opera of its grandeur and embed it in a more relatable setting sparked mixed reviews. Critics noted the diminishment of dignity associated with the characters, particularly in scenes where grandeur could have elevated their dramatic gravitas. For instance, the Queen’s whimsical antics—throwing her shoes and bouncing on the bed—felt out of character, reducing her regal persona to that of a frustrated child vacillating between emotions.
The decision resulted in some incoherent behavior that detracted from the historical significance of the narrative. Elements of modern societal issues—a stereotypical portrayal of male aggressors—also clouded the authenticity of the period setting. While the production did find some relief post-intermission, the initial oppressive bourgeois backdrop remained a topic of debate among operagoers.
The Musical Direction
Conductor Francesco Lanzillota demonstrated remarkable skill, ensuring that the orchestral performance matched the emotional tempo of the opera. Masterful, yet measured, the music provided a strong foundation that supported the singers’ performances while allowing them to showcase their vocal expertise. Despite the burdens of the production elements described above, the musical elements remained compelling and engaging, proving that the heart of opera lies in its musicality.
The Audience’s Reception
As the curtains drew, audience applause filled the hall, signaling a successful conclusion to a lengthy yet riveting performance. The appreciation expressed by the audience reflected a collective acknowledgment of the production’s strengths, despite its shortcomings. Looking ahead, the next season promises a variety of works, each with the potential to captivate, although some may still present challenges, particularly with the vision imposed by certain directors known for disrupting the nuances of classic operas.
El Palau de les Arts, with its commitment to artistic excellence, continues to be a beacon of opera in Valencia. As the final notes echoed in the theatre, it left audiences reflecting on the fine balance between traditional presentation and contemporary interpretation that defines modern opera.
El Palau de les Arts valenciano culmina su interesante temporada con Roberto Deveraux de Donizetti, un título prestigioso del compositor, no muy presente en el repertorio por dos probables razones, la exigencia de un reparto sobresaliente y la cierta endeblez dramática de la historia. Cuenta Kobbé que la ópera número 57 de las 70 compuestas por Gaetano Donizetti se estrenó, solo 19 años después de la primera, con gran éxito a pesar de las muy adversas circunstancias; el año anterior murieron los dos padres del compositor, aquel año de 1847 falleció su esposa, y en Nápoles se declaró una epidemia de cólera que contagió al barítono y la soprano.
De las óperas sobre las reinas inglesas, la dedicada al conde de Essex y su relación con Isabel I es la que cuenta con menor sustancia histórica: acaba limitándose a un forcejeo entre la reina Isabel (Eleonora Buratto), soprano, y la duquesa Sara (Silvia Tro Santafé), mezzosoprano, por el favor del tenor Roberto (Ismael Jordi), ante la rabia y el estupor del duque, el barítono Ludovico Filippo Modestov. El interés vocal y musical de los papeles femeninos, superior a los demás, se correspondió en este caso con la interpretación; soberbias la soprano y la mezzo, el tenor esforzado y competente, y algo difuso el barítono, que se entonó en su furia tras el descanso.
El montaje, una coproducción del Palau con otros dos teatros, dirigida por Jetske Miljnnsen, aburguesa el ambiente de la acción, con lo que desaparece el último posible aroma épico (la reina invita a tomar el té), abarata la dignidad de las figuras /el conde es un señor que nunca sabe si quitarse o ponerse la gabardina), obligando a comportamientos incongruentes (la reina es alcanzada por rabieta de niñata lanzando los zapatos al aire y saltando en la cama), o a citas obligadas al actual imaginario (el marido es el inevitable maltratador). Tras el descanso, la estilización de la escena alivió un poco el agobio burgués que abrumaba el inicio.
Una función larga, con una actuación musical del director de orquesta Francesco Lanzillota de perfecto estilo, con dos excelsas mujeres en conflicto, señalan el fin de una temporada que el público recibió con el generoso agradecimiento que demuestra siempre. Prometedora la próxima temporada, en su variedad y previsible mérito artístico. Eso sí, con la presencia. que hay que reconocer inevitable, de alguno de los directores de escena, estrellas de su especialidad, dedicados a destruir todo lo que tocan; en este caso, la ópera en su plasmación teatral. Veremos.