Robert Devereux and the Spider Woman

The alleged love affairs between Elizabeth I of England and the Earl of Essex have given a lot of space to literature and cinema, more often than not turning historical events of considerable importance into a romantic series with high doses of intrigue and revengewith that The secret life of Elizabeth and Essex directed by Michael Curtiz in 1939 and starring Bette Davis and Errol Flynn as a clear exponent, incidentally with the music of Erich Wolfgang Korngold illustrating it. Donizetti’s work culminates his famous as trilogy of queensbut if that’s okay Ana Bolena began his international career Maria Stuart y Roberto Devereux they were two separate bankruptcies at the time, dating back only to the 1970s. Since then they have gradually entered the repertoire, even if still far from the most recurring titles, ceasing to be considered what they call rare works. La Maestranza culminated last night its commitment in said trilogy with this one Production of the Welsh National Operaalso responsible for the co-production of The Traviata we saw last July.

The staging of the South African Alessandro Talevi is austere and dark, but this shouldn’t be a hindrance to being more attractive and convincing. A simple production doesn’t have to be at odds with a major one ability to suggest and even suggest. Talevi’s fails with its narrowness and fanciful decorations, much less with childish solutions such as projecting silhouettes of spiders and insects onto an aquarium that emphasize the threatening personality of the dissatisfied queen. Better was the work of lighting, capable of casting miraculous shadows on the front window. We were also convinced by the chains that hold the unfortunate count in the last act, emulating rays of light that give the scene a psychedelic aspect to which are also added the eloquent costumes, out of all times, signed by Madeleine Boyd, on the other hand also responsible for the controversial set design. The tarantula-shaped chariot that the queen rides in the second act, and which so closely resembles the mechanical contraption in which Kenneth Branagh drives Wild wild west to fight Will Smith, further emphasizes his Machiavellian and spiteful personality ridiculously.

In this scenographic context Denounced, however, the music shines in a particular way. Donizetti’s score is a gift for lovers of bel canto, and a torture or rather a challenge for the voices. Generous in melodies, with a continuous succession of arias, cavatine, cabaletas, duets, ensemble scenes and sumptuous choirs, it offers multiplicity of opportunities for all those involvedincluding the orchestra, which in the hands of the the experienced Canadian director Yves Abel resounded with all its splendor and splendor. Abel knew how to maintain perfect balance with the voices at all times, without sacrificing the volume and presence, which he already wore from a Symphony overwhelming and decidedly elegant and moving. the rest was work and effort at the service of such a varied score, and above all the action and the characters. To the splendid work of the orchestra we must add the magnificent contribution, once again, of the choir, exploiting above all its most lucid moment, the choir with which the second act begins, with as much measure as eloquence and a portentous musicality.

For the occasion they opted for a practically Spanish castwith the exception of the Italian baritone Franco Vassallo, which was the one who amassed the most cheers and cheers during the show. With his Duke of Nottingham he was right in both interpretation and singing expressiveness, as noble in the first half as furious in the second, to which he adapted his register and texture with commendable flexibility and without betraying the homogeneity of its border line. With all our affection and admiration for the Jerez tenor, we must admit that the interpretation of Ishmaele Jordi At the acting level, it was very underwhelming, with a permanent expression of fear and spasmodic movements. But in the third act, when he had the opportunity to shine as an impressive singeras sweet as elegance and good taste, in addition to exhibiting a generous projection and brilliant treble, he took advantage of it in all its splendor, redeeming himself from all of the above. In his brief role as Lord Cecil, the Cantabrian tenor Alessandro del Colle he adapted very easily to his role and offered a song from a completely solvent point of view. Nancy Fabiola Herrera from the beginning he had the opportunity to show off in cavatina Crying is sweet for the afflictedso similar to its contemporary Norm by Bellini. But just as he keeps all his strength in the upper zone and his own velvety bell, and continues to be capable of surprising highs as well as perfectly controlling his breathing, under his voice, however, it tends to fade. There is also nothing to complain about the contribution of the Canary Islands Yolanda Auyanetreina portentous, authoritative, energetic and brilliant, both at the recitative and vocal level, restrained not to be histrionic but without giving up the character and strong personality that his character exudes. It was a challenge for her to take on such a complicated role and boy did she succeed, as if it were a roller coaster, as dizzying as it was moving as it played. Orchestra and voices saved and balanced in favor of the excellence of the disappointing staging.

ROBERTO DEVEREUX ***
Opera House Gaetano Donizetti. booklet by Salvatore Cammaranoaccording to the play “Elisabeth d’Angleterre” by François Ancelot. Yves Abele, musical direction. Alessandro Talevi, stage direction. Madeleine Boydsets and costumes (Reposition: Anna Bonomelli). Matthew Haskins, lighting (Teresa Nagel). Maxine Brahamchoreographic movement. With Yolanda Auyanet, Ismael Jordi, Franco Vassallo, Nancy Fabiola Herrera, Alejandro del Cerro, Javier Castañeda y Ricardo Lama. Royal Symphony Orchestra of Seville. Maestranza Theater Choir. Íñigo Sampil, director. Production of the Welsh National Opera. Teatro de la Maestranza, Tuesday 8 November 2022