Gaetano Donizetti – Libretto by Salvadore Cammarano
Andrea Sanguineti – Directed by Andy Morton
Sutherland Theatre, Sydney Opera House, March 16 and 18
Performance on March 16 reviewed by BILL STEPHENS.
carefully chosen, it’s surprising how satisfying a concert version of an opera
production of “Roberto Devereux” was an excellent example. Opera Australia had already presented two of
the Donizetti Tudor trilogy, “Anna Bolena” in 2019, and a concert version of “Maria
Stuarda” in 2022. These performances of “Roberto Devereux” complete the trio.
based on the true story of the 2nd Earl of Essex who served in the
court of Queen Elizabeth 1, the opera’s turgid plot revolves around a
passionate love triangle involving Elisabetta, Roberto and Sara. Quite popular at the time it was written,
“Roberto Devereux” is now rarely performed, except as a vehicle for celebrity
bel canto sopranos. Think Montserrat Caballe, Beverly Sills, Maria Callas and
Now add Roberta Mantegna who dazzled Sydney audiences with the strength and power of her voice as well as her vocal artistry when she made her Australian debut as Elisabetta in this concert version of “Roberto Devereux”.
A protégé of Renata Scotto, Mantegna has been attracting attention for her mastery of the bel canto repertoire, having made her debut in the title roles of Bellini’s “Norma” and Donizetti’s “Maria Stuarda”.
sung the role of Elisabetta with Washington Concert Opera, Mantegna mesmerised
with the passion of her interpretation, and the power of a voice which
thrillingly rose above the full forces of the Opera Australia chorus and
orchestra effortlessly filling the Joan Sutherland Theatre.
However Mantegna’s was not the only great voice in this cast. Italian tenor, Valerio Borgioni, who appeared in Opera Australia’s concert production of “Maria Stuarda” in 2022, played Roberto Devereux, who had the temerity to fall in love with Sara unaware that Elisabetta had a crush on him, and Italian baritone, Giorgio Caoduro, who played Sara’s husband and Roberto’s best friend, the Duke of Nottingham, made up a trio of outstanding Italian bel canto voices.
By no means overshadowed, Jane Ede made an impressive role debut as the unfortunate, Sara. With her cool, elegant voice and demeanour, Ede provided the perfect contrast and match for the dramatics of Mantegna’s Elisabetta.
Iain Henderson (Lord Cecil), Richard Anderson (Sir Walter Raleigh), Clifford Plumpton (Page) and Ryan Sharp (Servant of Nottingham) all made their role debuts in this opera and each acquitted themselves with distinction.
lavish staging, this concert version allowed the audience to concentrate on Donizetti’s
luxurious score which is rich in passionate melodic lines and powerful,
dramatic confrontations. However, the use of surtitles and Andy Morton’s
restrained direction ensured that the storyline was also crystal clear
Within the formal,
elegant setting, with the orchestra off-stage in the orchestra pit, and five
music stands arranged across the front of the stage for the soloists, and with
both the soloists and chorus costumed in formal evening wear, Morton allowed his
soloists the freedom to respond to dramatic situations, while utilising a
series of cleverly devised entrances and exits for the large chorus to enhance
the drama, add spectacle, and provide a sense of place for each of the scenes.
lighting design by Jason Morphett, particularly in the final scene in which bright
downlights suggested Devereux’s prison, was also a feature of the presentation.
Australia Orchestra, on this occasion conducted by Italian, Andrea Sanguineti, conducting
his first Australian performances, once
again delighted with its lush, carefully detailed performance of a score for which
the overture titillates by including a gorgeous arrangement of “God Save the
King” among Donizetti’s melodies.
of this stunning staging of Donizetti’s opera certainly whets the appetite for
the forthcoming concert version later in the year of another rare masterpiece,
Ponchielli’s “La Gioconda” starring Jonas Kaufmann and another starry cast.
though to the person who made the decision that the program for “Roberto
Devereux” could only be obtained via a QR code on arrival at the Opera House.
He/she should have been made to spend the interval in the foyers watching
frustrated older audience members trying access the program information. A few
fluked it, but most gave up in frustration. Not a good look for a major opera
however, to whoever arranged for some printed sheets containing cast information
to be handed out at interval, even those these quickly ran out.
Images provided by Opera Australia.
This review also published in AUSTRALIAN ARTS REVIEW. www.artsreview.com.au