{"id":150553,"date":"2025-06-15T20:21:56","date_gmt":"2025-06-15T20:21:56","guid":{"rendered":"https:\/\/teknomers.com\/en\/roberto-devereux-by-donizetti-at-the-palau-de-les-arts-soprano-versus-mezzo-soprano\/"},"modified":"2025-06-15T20:21:56","modified_gmt":"2025-06-15T20:21:56","slug":"roberto-devereux-by-donizetti-at-the-palau-de-les-arts-soprano-versus-mezzo-soprano","status":"publish","type":"post","link":"https:\/\/teknomers.com\/en\/roberto-devereux-by-donizetti-at-the-palau-de-les-arts-soprano-versus-mezzo-soprano\/","title":{"rendered":"Roberto Devereux by Donizetti at the Palau de Les Arts: soprano versus mezzo-soprano."},"content":{"rendered":"\n

The Majesty of Opera: A Dive into Roberto Devereux<\/em><\/h1>\n

Opera is more than just a performance; it’s a culmination of emotion, artistry<\/strong>, and storytelling through music. This season, El Palau de les Arts in Valencia proudly showcased one of the exquisite operas by Gaetano Donizetti\u2014Roberto Devereux<\/em>. 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.<\/p>\n

The Historical Context of Roberto Devereux<\/em><\/h2>\n

First performed in 1837, Roberto Devereux<\/em> 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<\/strong>. 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<\/strong>, affecting the health of his leading performers.<\/p>\n

The Characters and Performance<\/h2>\n

The narrative unfolds a power struggle between Queen Elizabeth, portrayed by the talented Eleonora Buratto<\/strong>, and the Duchess Sara, played by Silvia Tro Santaf\u00e9<\/strong>. Their competition for the affection of Roberto, brought to life by tenor Ismael Jordi<\/strong>, incites drama and emotional depth. The portrayal of the Duke, characterized by baritone Ludovico Filippo Modestov<\/strong>, adds another dimension to the unfolding tensions. However, as Kobb\u00e9 outlines, the opera relies heavily on its vocal performances, and, in this case, the female roles certainly outshine their male counterparts.<\/p>\n

Vocal Mastery<\/h3>\n

The performance began with an impressive display of talent. Buratto and Tro Santaf\u00e9 delivered sublime vocal interpretations<\/strong>, 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.<\/p>\n

The Direction and Set Design<\/h2>\n

The direction by Jetske Miljnsen<\/strong> 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<\/strong> associated with the characters, particularly in scenes where grandeur could have elevated their dramatic gravitas. For instance, the Queen\u2019s whimsical antics\u2014throwing her shoes and bouncing on the bed\u2014felt out of character, reducing her regal persona to that of a frustrated child vacillating between emotions.<\/p>\n

The decision resulted in some incoherent behavior that detracted from the historical significance of the narrative. Elements of modern societal issues\u2014a stereotypical portrayal of male aggressors\u2014also 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.<\/p>\n

The Musical Direction<\/h2>\n

Conductor Francesco Lanzillota<\/strong> 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.<\/p>\n

The Audience’s Reception<\/h2>\n

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<\/strong>, 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.<\/p>\n

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.<\/p>\n

\n
\n

Actualizado <\/span>

\n

El Palau de les Arts valenciano culmina su interesante temporada con Roberto Deveraux de Donizetti, un t\u00edtulo prestigioso del compositor, no muy presente en el repertorio por dos probables razones, la exigencia de un reparto sobresaliente y la cierta endeblez dram\u00e1tica de la historia<\/strong>. Cuenta Kobb\u00e9 que la \u00f3pera n\u00famero 57 de las 70 compuestas por Gaetano Donizetti se estren\u00f3, solo 19 a\u00f1os despu\u00e9s de la primera, con gran \u00e9xito a pesar de las muy adversas circunstancias; el a\u00f1o anterior murieron los dos padres del compositor, aquel a\u00f1o de 1847 falleci\u00f3 su esposa, y en N\u00e1poles se declar\u00f3 una epidemia de c\u00f3lera <\/strong>que contagi\u00f3 al bar\u00edtono y la soprano.<\/p>\n

De las \u00f3peras sobre las reinas inglesas, la dedicada al conde de Essex y su relaci\u00f3n con Isabel I es la que cuenta con menor sustancia hist\u00f3rica: acaba limit\u00e1ndose a un forcejeo entre la reina Isabel (Eleonora Buratto), soprano, y la duquesa Sara (Silvia Tro Santaf\u00e9), mezzosoprano, por el favor del tenor Roberto (Ismael Jordi), ante la rabia y el estupor del duque<\/strong>, el bar\u00edtono Ludovico Filippo Modestov. El inter\u00e9s vocal y musical de los papeles femeninos, superior a los dem\u00e1s, se correspondi\u00f3 en este caso con la interpretaci\u00f3n; soberbias la soprano y la mezzo, el tenor esforzado y competente, y algo difuso el bar\u00edtono, que se enton\u00f3 en su furia tras el descanso.<\/p>\n

El montaje, una coproducci\u00f3n del Palau con otros dos teatros, dirigida por Jetske Miljnnsen, aburguesa el ambiente de la acci\u00f3n<\/strong>, con lo que desaparece el \u00faltimo posible aroma \u00e9pico (la reina invita a tomar el t\u00e9), abarata la dignidad de las figuras \/el conde es un se\u00f1or que nunca sabe si quitarse o ponerse la gabardina), obligando a comportamientos incongruentes (la reina es alcanzada por rabieta de ni\u00f1ata 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 estilizaci\u00f3n de la escena alivi\u00f3 un poco el agobio burgu\u00e9s que abrumaba el inicio.<\/p>\n

Una funci\u00f3n larga<\/strong>, con una actuaci\u00f3n musical del director de orquesta Francesco Lanzillota de perfecto estilo, con dos excelsas mujeres en conflicto, se\u00f1alan el fin de una temporada que el p\u00fablico recibi\u00f3 con el generoso agradecimiento que demuestra siempre. Prometedora la pr\u00f3xima temporada<\/strong>, en su variedad y previsible m\u00e9rito art\u00edstico. Eso s\u00ed, 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 \u00f3pera en su plasmaci\u00f3n teatral. Veremos.<\/p>\n<\/div>\n


\n
General News – 2<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

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\u2014Roberto Devereux. Unraveling the intricacies of this production provides insight not […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4],"tags":[4535,36728,37063,37064,9172,37066,37065,26325,33412],"class_list":["post-150553","post","type-post","status-publish","format-standard","hentry","category-mazagine","tag-arts","tag-cultura-musica","tag-devereux","tag-donizetti","tag-les","tag-mezzosoprano","tag-palau","tag-roberto","tag-soprano"],"_links":{"self":[{"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/posts\/150553","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/comments?post=150553"}],"version-history":[{"count":0,"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/posts\/150553\/revisions"}],"wp:attachment":[{"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/media?parent=150553"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/categories?post=150553"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/tags?post=150553"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}