Donizetti - Roberto Devereux / Rudel, Sills, Alexander, New York City Opera

Starring:Beverly Sills, David Rae Smith, John Alexander (VIII), Richard Fredricks, Susanne Marsee, John Lankston
Director: Kirk Browning
Studio: Video Artists Int'l
Product Type: DVD

Editorial Review:
Amazon.com
Roberto Devereux, the last and probably the greatest opera Gaetano Donizetti composed for the San Carlo Opera House in Naples, is based on the intense, tangled relationship between Queen Elizabeth I and the Earl of Essex, who was beheaded for treason in 1601. The role of the queen is one of the strongest in the bel canto soprano repertoire. In this video (essentially a New York City Opera production transplanted to the Filene Center at Wolf Trap performing arts center outside Washington, D.C.), Beverly Sills gives one of the great performances of her career. She had been singing the role in New York for several years, to great critical acclaim, and had made it her own, though her voice was beginning to lose some of its freshness when this performance was filmed in 1974. In discussing the soprano stars of bel canto opera, we find a 180-degree polarity--at one extreme, the dramatic potency and vocal problems of Maria Callas; at the other, the vocal agility and smoothness of the dramatically unconvincing Joan Sutherland. Midway between these extremes is Sills, who acted almost as well as Callas, sang almost as beautifully as Sutherland, and balanced the two sides of her art more effectively than either.

Amazon.com

Roberto Devereux, the last and probably the greatest opera Gaetano Donizetti composed for the San Carlo Opera House in Naples, is based on the intense, tangled relationship between Queen Elizabeth I and the Earl of Essex, who was beheaded for treason in 1601. The role of the queen is one of the strongest in the bel canto soprano repertoire. In this video (essentially a New York City Opera production transplanted to the Filene Center at Wolf Trap performing arts center outside Washington, D.C.), Beverly Sills gives one of the great performances of her career. She had been singing the role in New York for several years, to great critical acclaim, and had made it her own, though her voice was beginning to lose some of its freshness when this performance was filmed in 1974. In discussing the soprano stars of bel canto opera, we find a 180-degree polarity--at one extreme, the dramatic potency and vocal problems of Maria Callas; at the other, the vocal agility and smoothness of the dramatically unconvincing Joan Sutherland. Midway between these extremes is Sills, who acted almost as well as Callas, sang almost as beautifully as Sutherland, and balanced the two sides of her art more effectively than either.

Customer Reviews:

Sills Below Par, But Still Remarkable.......2006-12-18

For those who would no more look at an opera star than stare at a radio, this performance is sure to disappoint. The primary problem is that Sills, for whatever reason, is not in her finest voice. Anyone who listens to her earlier recording of the role, or who was lucky enough to see her in her heyday in it at NYCOpera, will immediately hear that something is awry. Nevertheless, hers was from its conception a complete performance, from stance to requisite facial expression in every scene, and though she had done better in the part, it's better to have this four star version than none at all. What we have here is great acting in operatic melodrama, though the diva's voice is faded, much like a worn, though rich, tapestry.

Lesser Donizetti.......2004-07-11

I felt this opera and this production were inferior to others I have heard or seen. I am homosexual, so it was not homophobia that made me disgusted to see that at least Roberto had apparently plucked his eyesbrows and was wearing mascara. Everyone's acting was pleasant, Sara's husband made me hate him so he was good, Sara was good enough, Sills' was an extremely self-indulgent regal queen, dismissing people disdainfully, indifferently with a flick of the wrist, pushing people out of the way, all in exquisite character I thought. In fact, she made a nice contrast between the selfish pampered queen and all too human woman, I thought. However, she spent the first 1/3 of the opera in a fury and the last 2/3 in agony. It got tiresome and repetitious, but that's what was written. I was very uncomfortable with Roberto all the way around. The music wasn't as good as I'm used to and have come to expect from Donizetti I thought, though I've never heard anything by him I actually disliked. You really had to listen for the tunes (caught one, that was all), and that last high note that goes sailing up to the balcony (the kind that Sutherland was famous for) was indeed the last note, the last note of the whole show, there were no others! I won't succumb to the temptation to comment on the reviewer who compared the acting of (who else?) Callas, Sutherland and Sills. There are sopranos today that are more convincing than all three of them! One last word on the music. I'm going to keep and watch this DVD again, probably I think many times, because I feel there is more to be gotten out of it than I did at one time through (though I have the opera on CD also with Sills and always thought I liked it, in fact I have all the 3 queens with Sills on CD, and when the us postal service condescends to get Maria Stuarda to me, I'll have all three on DVD too, Stuarda an obscure Italian group that is supposed to be very good, I hope so). On the other hand, if I'm as disappointed on subsequent viewings/hearings as I was with the first, I may put this DVD alongside Don Carlos and cut my losses.

This Is What Opera Is All About: Long Live The Queen.......2004-06-02

This DVD, also available on VHS, was filmed in 1975 at the Wolf Trap Festival. Stars the incredible soprano Beverly Sills in the role of Queen Elizabeth I of England, tenor John Alexander as the title hero Roberto Devereux and bass baritone Richard Fredericks as the villainous Duke of Nottingham. The opera is a collector's treasure of opera and a must have for fans of the diva Beverly Sills. It is undoubtedly her greatest performance. She began to sing the role in 1969 and took the world by storm through the early 70's, impressive not only for her ability to sing so demanding a vocal role, but also singing all three Tudor Queen operas of Donizetti- Anna Bolena and Maria Stuarda were the other two that preceed Roberto Devereux. In the mid 70's, the medium of television and film was beginning to reach the opera crowds. Joan Sutherland did it in the 80's and opera films such as the 1979 Don Giovanni starring Kiri Te Kenawa and Raigero Raimondi was becoming popular. Beverly's other opera films, taped performances for the Wolf Trap and for the New York City Opera include Jules Massenet's Manon, which is possibly her second best performance next to this. Also available is Donizetti's Daughter Of The Regiment sung in English, Rossini's Barber Of Seville and Verdi's La Traviata. All worth the purchase.

The part of Queen Elizabeth in this opera is as vocally difficult to sing as Norma of Bellini's opera. Although the part calls for a dramatic, big voice, Sills proved to the world that a light instrument can be trained to dramatic heights. She is on fire as the Queen, all passion, from love in the aria "L'amor suo" to coloratura spectacular in "A Ritorno Qual Ti Spera". In Act 2, her soft romantic side fades as she discovers that Roberto Devereux, the object of her affection, loves another woman, Duchess Sara (sung by the mezzo soprano Susan Marsee in a superb performance). The Duke of Nottingham, previously a friend and loyal supporter of Robert Devereux, become jealous also when he learns of his romantic link with Sara, his arranged wife. He, together with the Queen and the entire court, conclude Act 2 with a fiery ensemble "Va La Morte" that totally brings the house down. Beverly Sills is at her strongest in this dramatic act, as she rages in majestic fury and orders his death sentence. In the last part, she regrets her rash decision and attempts to save him, but it's too late. Devereux is executed and Queen Elizabeth begins to die that very day, as she mourns and laments with bitterness the final arias.

This is Beverly Sills at the height of her career. She earned a cover in Time magazine for this performance. She looks back and remembers the Golden Age that this was for singers like her. Currently, recordings of Beverly Sills which have long been LP albums are finally making it into the compact disc market. Available now are "Beverly Sills The Great Recordings", "The Art Of Beverly Sills " "Plaisir D'Amour" "Sillsiana" "Lucia Di Lammermoor" "La Traviata" "Manon" "Tales Of Hoffman" "Barber Of Seville" "Rigoletto" "L'Assedio Di Corinto" "Ballad Of Baby Doe" "La Fille Du Regiment" and the opera in which she sang Cleopatra which launched her career in '64-65 Handel's Julius Caesar. Check them out. You will fall for the voice of Beverly Sills.

Viva La Regina.......2004-02-24

If I were forced to choose only ONE of my opera-DVD and Video-collection I's choose this one without another thought. I'm a history-buff and knowing the story of Elizabeth I. pretty well let me tell you that Sill's presence equals that of the divine Glenda Jackson, the actress who played Elizabeth I. in BBC's highly acclaimed mini-series "Elizabeth R." (R. stands for Regina)!!!! Add to this a woman who's BURNING up the stage with her thrilling voice! Beverly once said that this Elisabetta cut off at least 5 years of her career. But WHAT a performance this is!!! Beats Edita Gruberova EASILY. If you love opera and great singing RUN to buy this and be drawn into history!

Great DVD -- Amazing Beverly Sills.......2004-01-04

Beverly Sills is great in this DVD. Her fiery, nuanced, totally believable performance of Queen Elizabeth makes up for her out-of-prime singing. She is incredible. She conveys stage magic to the audience. Her movements are perfectly calculated, but seem completely spontaneous on stage. Sills is truly a national treasure. This role is very difficult, but Sills pushes her voice bravely to meet its insane demands. Yes, her lower register is very weak, but she is very adept at using it effectively.

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