Gaetano Donizetti didn't ACTUALLY set out to compose a trilogical cycle based on the tragic histories of the three "Tudor" Queens: "Anna Bolena" (1930, Milano, Carcano -- tenor role: Percy, created by Rubini), "Maria Stuarda" (Napoli, 1834, La Scala, 1835 -- tenor role: Leicester, created by Domenico Reina), "Roberto Devereux; ossia, il secondo conte di Essex" (Napoli, 1837).
The three works were created at various points in Donizetti's maniacally prolific career, and each has its own rather complicated, haphazard genesis.
But the belated re-appreciation given to these works at "The New York City Opera" during the heyday of the "bel canto" revival -- a crucial step in the overall revival of Donizetti as well -- confers a sort of "ex post facto" sense of UNITY, thanks to the signature contributions of Beverly Sills.
These three majestic roles were, quite unpunningly, her crowning achievement.
Yet despite a brief efflorescence of celebrity (even extending to a "Time" magazine cover) when she was considered perhaps the rival to Joan Sutherland, Sills slipped through the cracks.
For all her formidable acting skill--a substantial aspect of her accomplishment in these interpretations--she never quite made it to the era of opera tele-casting, and her problematic recorded catalog and relatively early retirement from the stage hindered the Sills legend from extending to a new generation.
But now, there's no excuse to overlook the Sills achievement.
Sills is simply a can't-miss bonanza for Donizetti-heads and, for that matter, fans of beautiful singing.
The original "New York City Opera" project started off with "Roberto Devereux; ossia il secondo conte di Essex" (1837, Napoli) --recorded in London in 1969.
It continued until the summer 1972 recording of "Anna Bolena" (1830 -- cfr. "Il castello di Kenilworth", 1829).
There are facsimiles of the original lengthy liner notes (with astute background, commentary, and translations--full libretti included--by William Ashbrook) and a bonus booklet of photos from the original NYC Opera productions.
Just as the musical content varies in quality from opera to opera, indeed within each opera, the level of performance is by no means seamless or at the same peak pitch throughout.
Some listeners will prefer the less liberal but profoundly attentive and intuitively rich conducting of Charles Mackerras in "Roberto Devereux; ossia il secondo conte di Essex", while others will overlook the rather surprisingly sloppy string ensemble and figuration committed by the London Symphony in "Anna Bolena" for the hectic energy and pacing Julius Rudel could conjure.
The challenges demanded by Donizetti's heavy writing for Elisabetta in "Roberto Devereux; ossia, il conte di Essex", can manifest as strain, but this part also registers Sills's vocal acting with a powerful punch.
Just listen to the range of emotional content she sails through in the scene of her conflicted first duet with Roberto, conte di Leicester, beginning with "un tenero core" (Act I).
One of the joys here is zeroing in on your own favourite passage, scena, flicker of insight.
Perhaps it's "Anna Bolena" with the title role in prison.
Or perhaps "Maria Stuarda" with the outburst of Maria Stuarda and Elisabetta meeting in the park outside Fotheringhay (who cares if history has been amended to suit dramatic license?).
Or perhaps "Roberto Devereux; ossia il secondo conte di Essex", with Elisabetta's horrifying realization upon the execution of her beloved.
And despite some unevenness in the casting, this set offers a number of other vocal treasures to set beside Sills's artistry:
the utterly compelling Giovanna (Jane Seymour) of Shirley Verrett in Anna Bolena
Eileen Farrell's return to the studio for Maria Stuarda's imperious Elizabeth (interesting to compare with Sills's earlier slant on the queen from Devereux),
Paul Plishka's imposing Henry the 8th, Peter Glossop's scheming Nottingham.
If you're not already an addict, this set will bring you back for fix after fix.
What a glorious reissue.
We learned in the 50's not to try and compare great divas.
At that time it was Callas, Milanov & Tebaldi.
Each was very different and had certain strengths and weaknesses.
The same in the 70's.
How does one compare Sills & Sutherland - YOU CAN'T.
Their repertoires overlapped and neither was greater than the other.
You can have your preferences, but don't try to compare.
The both left their mark on the bel canto operas.
I own and enjoy most of the recordings by both.
Personally if you ask me to compare their "La Traviatas" & "Lucias", I prefer Anna Moffo.
Sutherland was lucky in that her vocal coach & husband usually conducted her.
We learned in the 50's not to try and compare great divas.
At that time it was Callas, Milanov & Tebaldi.
Each was very different and had certain strengths and weaknesses.
The same in the 70's.
How does one compare Sills & Sutherland - YOU CAN'T.
Their repertoires overlapped and neither was greater than the other.
You can have your preferences, but don't try to compare.
The both left their mark on the bel canto operas.
I own and enjoy most of the recordings by both.
Personally if you ask me to compare their "La Traviatas" & "Lucias", I prefer Anna Moffo.
Sutherland was lucky in that her vocal coach & husband usually conducted her.
Sills brings a life to these thre Tudor Queens that is unique.
Some only saw one of these in a live production at the NYC Opera and that was Roberto Devereux with Beverly Wolff & Placido Domingo.
Sills took some breath away, she was fabulous.
Some only saw one of these in a live production at the NYC Opera and that was Roberto Devereux with Beverly Wolff & Placido Domingo.
Sills took some breath away, she was fabulous.
The only flaw in this set is the casting of Eileen Farrell as Elisabeta in
Maria Stuarda.
We love Eileen Farrell and believe Rudolf Bing ruined her Mer career.
We appreciate almost everything she ever did.
But Elisabeta requires a true mezzo/contralto (Baltsa & Tourangeau) and Farrell was lacking.
It's too bad Verrett was not available.
Sills & Verrett were like Callas & Stignani and Sutherland & Horne; they were made for each other.
We love Eileen Farrell and believe Rudolf Bing ruined her Mer career.
We appreciate almost everything she ever did.
But Elisabeta requires a true mezzo/contralto (Baltsa & Tourangeau) and Farrell was lacking.
It's too bad Verrett was not available.
Sills & Verrett were like Callas & Stignani and Sutherland & Horne; they were made for each other.
----
The audio of this reissue is stupendous; you feel like you in the opera
house listing live, but without the distractions.
Even though I feel it's overpriced, it's still worth it.
By the way, "I Puritani" & "Lucia" has been reissued and the audio is astounding!
Even though I feel it's overpriced, it's still worth it.
By the way, "I Puritani" & "Lucia" has been reissued and the audio is astounding!
rs The Ultimate in Bel Canto Singing, and the Apotheosis of
Sills's Artistry.
There isn't much to say that hasn't been said by other reviewers,
so I'll just go through each Queen and say what I like and (in the very rare
case) don't like about the recording.
Maria Stuarda:
First I'd like to say that, despite some other reviewers's opinions, there are NO "weak links," by which I mean that each Opera is represented to the fullest extent of the singers's abilities, which is saying a lot.
First I'd like to say that, despite some other reviewers's opinions, there are NO "weak links," by which I mean that each Opera is represented to the fullest extent of the singers's abilities, which is saying a lot.
However, I often have mixed feelings about this Maria Stuarda (though it is
still the best on the market, HANDS DOWN).
The only reason I find myself vacillating on this is Eileen Farrell.
Don't get me wrong--she was an incredible dramatic soprano...IN HER DAY.
She came out of retirement for this recording alone, and she just sounds like her voice is at the end of its rope, especially in the confrontation scene (which is one of the most amazing scenes ever recorded by Sills in my humble opinion).
IF ONLY Shirley Verrett had been available for this recording like she was for Anna Bolena.
The only reason I find myself vacillating on this is Eileen Farrell.
Don't get me wrong--she was an incredible dramatic soprano...IN HER DAY.
She came out of retirement for this recording alone, and she just sounds like her voice is at the end of its rope, especially in the confrontation scene (which is one of the most amazing scenes ever recorded by Sills in my humble opinion).
IF ONLY Shirley Verrett had been available for this recording like she was for Anna Bolena.
On the flip side, Sills sings beautifully, in fresh voice (not having had
time to do real damage with these three queens just yet).
Her final scene is breathtaking, and the final 5 minutes of the opera make a strong case why she was so admired as a singing actress.
The final high D is amazing, as usual.
Her final scene is breathtaking, and the final 5 minutes of the opera make a strong case why she was so admired as a singing actress.
The final high D is amazing, as usual.
Anna Bolena: I didn't dislike a thing about this opera, especially not
since it had the Sills/Verrett combo.
Shirley Verrett and Beverly Sills are two of the three greatest singing actresses that ever lived (the third being Maria Callas, quite obviously), and to hear them together on this recording is just incredible.
If only they had gotten the same attention from the studio as the Sutherland/Horne combo (which in comparison is just flat-out boring).
One of my favorite Verrett Moments is at the end of the track "Sul suo capo..." immediately after Sills ends a phrase Verrett hurls out this massive high C--it is just amazing, and it's why I love opera.
Shirley Verrett and Beverly Sills are two of the three greatest singing actresses that ever lived (the third being Maria Callas, quite obviously), and to hear them together on this recording is just incredible.
If only they had gotten the same attention from the studio as the Sutherland/Horne combo (which in comparison is just flat-out boring).
One of my favorite Verrett Moments is at the end of the track "Sul suo capo..." immediately after Sills ends a phrase Verrett hurls out this massive high C--it is just amazing, and it's why I love opera.
The end of the first act is great, ending with a lovely high D from Sills,
but the second act finale she ends it with a high Eb and to me it almost sounds
like she was a little bit scared of it...not something that is usually
associated with Sills and high notes.
Roberto Devereux: the TRUE apotheosis of her artistry--she put her heart
and soul into this opera, into this character, and it is immediately evident.
The first act cabaletta is embellished to the point of hilarity, but that's the beauty of Sills--she did it because not only could she DO it, but she made it sound absolutely effortless and she made it fit.
It was like what she said of Massenet's "Manon," that you need "high Ds to spare," and in this recording (particularly this cabaletta) she most definitely does.
The first act cabaletta is embellished to the point of hilarity, but that's the beauty of Sills--she did it because not only could she DO it, but she made it sound absolutely effortless and she made it fit.
It was like what she said of Massenet's "Manon," that you need "high Ds to spare," and in this recording (particularly this cabaletta) she most definitely does.
The final scene delivered a massive disappointment to me--she omitted the
pianissimo high D at the end of "Vivi ingrato" which she had done in every
performance.
She even says in the little booklet something to the effect of,
"Mackerras talked me out of it because he prefers bel canto 'come scritto,' so I left it out.
I never did another performance without that high D."
However, it's not enough to knock this recording off my favorites list.
The final cabaletta is GLORIOUS, a true example of what she can really do, and if you notice, it was those chesty low notes that robbed her of probably twenty more years of singing.
The final high D (as well as the final high D of the duet "Un tenero cor") are two of my favorite high D's ever.
She even says in the little booklet something to the effect of,
"Mackerras talked me out of it because he prefers bel canto 'come scritto,' so I left it out.
I never did another performance without that high D."
However, it's not enough to knock this recording off my favorites list.
The final cabaletta is GLORIOUS, a true example of what she can really do, and if you notice, it was those chesty low notes that robbed her of probably twenty more years of singing.
The final high D (as well as the final high D of the duet "Un tenero cor") are two of my favorite high D's ever.
Don't miss these unforgettable performances.
Sills was
my complete introduction to the 3 Queens! What an introduction it was!
I will not compare Sills to any of the other recordings, for I believe,
that they all have their own place.
That would include Gruberova(an all time favourite) and the Dame!
That would include Gruberova(an all time favourite) and the Dame!
I am no purist! The voice must tell me something! I feel the music through
the voice.
Anna Bolena
How many times can one listen to the final "Coppia iniqua.." ?!!
Sills is brilliant and so is one of my very favourite singers, Verret.(Just
acquired her Norma!)
Maria Stuarda
Firstly, Eileen Farell is brilliant!! But Sills is probably the best Maria
on recording!
Roberto Devereux
One of the greatest recordings ever. This will remain always one of my
favourite recordings! Sills really sets the standard here. I adore Gruberova's
recording and Gencer's live as well.
In years to come will this remain as pieces of art and interpretation!!
Each of the three operas is in its own double jewel
case.
Each contains a full Italian/English libretto with background
articles and photos.
The three jewel cases are in a slipcase, and there is
an additional 18-page booklet mostly of rehearsal photos.
The set is nicely done.
Each contains a full Italian/English libretto with background
articles and photos.
The three jewel cases are in a slipcase, and there is
an additional 18-page booklet mostly of rehearsal photos.
The set is nicely done.
These operas are Beverly Sills at her best.
After hearing these operas no one will satisfy you. I wish they were on DVD's because Sills has to be seen and heard.
Well, I guess it's time I added my
comments on these recordings.
First, however, I'd like to say that I do not understand "bashing".
This has been going on, in my remembrance at least, since Callas/Tebaldi in the 50's.
How stupid is this! Does one REALLY think that two different singers, with two different voices and/or approaches to a role can be, truthfully, compared to one another?
I have never understood this kind of thinking. I LOVE Callas (in nearly everything she sang), but she had an ugly voice....do I let this bother me or lead me to compare her to others???
NO!
She was, unquestionably, the greatest singing actress of our time, period!
Tebaldi...was there EVER a voice as beautiful as hers??
Sills...Was there ever a voice as light and as fresh as hers??? Sutherland?? She wasn't called La Stupenda for nothing, folks. I could go on, but I think the point is made. Every one of these singers (and others) are themselves, with their own interpretations of roles. Some sing some roles better than others, but bashing??? I don't think so!!! This shows one's uncomfortable shallowness quite clearly, I believe.
This has been going on, in my remembrance at least, since Callas/Tebaldi in the 50's.
How stupid is this! Does one REALLY think that two different singers, with two different voices and/or approaches to a role can be, truthfully, compared to one another?
I have never understood this kind of thinking. I LOVE Callas (in nearly everything she sang), but she had an ugly voice....do I let this bother me or lead me to compare her to others???
NO!
She was, unquestionably, the greatest singing actress of our time, period!
Tebaldi...was there EVER a voice as beautiful as hers??
Sills...Was there ever a voice as light and as fresh as hers??? Sutherland?? She wasn't called La Stupenda for nothing, folks. I could go on, but I think the point is made. Every one of these singers (and others) are themselves, with their own interpretations of roles. Some sing some roles better than others, but bashing??? I don't think so!!! This shows one's uncomfortable shallowness quite clearly, I believe.
The review:
Sills had a wonderously light and silvery voice, that I find quite her own.
I simply love her Baby Doe, and her Traviata, as her voice is simply made for the parts.
Her Lucia is, also, really good.
Casting her as the three Tudor Queens was a wonderful thing, it made her a real solid star at The New York City Opera.
She was the only one singing these roles at the time, and it was good for her career, and, also, good for the music world to become familiar with these three great tragic, long neglected, works of Donizetti.
I simply love her Baby Doe, and her Traviata, as her voice is simply made for the parts.
Her Lucia is, also, really good.
Casting her as the three Tudor Queens was a wonderful thing, it made her a real solid star at The New York City Opera.
She was the only one singing these roles at the time, and it was good for her career, and, also, good for the music world to become familiar with these three great tragic, long neglected, works of Donizetti.
But, as they were really beyond the capability of her instrument, she,
eventually, damaged her voice with the parts, especially Elizabeth in Roberto
Deveraux.
This is, I guess, inevitable, as most singers do at some point in their careers, delve deeply into waters beyond their capability, and the downward progression begins.
Repeatedly, singer after singer has done this.
This is, I guess, inevitable, as most singers do at some point in their careers, delve deeply into waters beyond their capability, and the downward progression begins.
Repeatedly, singer after singer has done this.
That aside, let me say that we are so very fortunate to have these three
recordings, even with their flaws (and there certainly are flaws), both as a
remembrance of Beverly Sills, and her colleagues, but also documentation of her
performances and the presentation of Donizetti's works.
All three of these works are so rarely performed, much less recorded, that they are a treasure for sure.
All three of these works are so rarely performed, much less recorded, that they are a treasure for sure.
Personally, Roberto Deveraux, I feel, hangs together the strongest in
Mackerras' leadership.
Sills is, admittedly, pushing the limits of her capabilities...but, by doing the role in sessions, she is really very good on the recording.
Admittedly, in a live performance, straight through, there is the electricity of interaction with other characters on stage, taking the heights up a notch, and this is where she really did the damage to her voice.
Her compatriots here are all really serviceable...we are so lucky to have this recording, why be objectionally picky? DG has done a remarkable job remastering this particular recording. I remember the ABC pressing on LP years ago, and am pleased with the care attended here to the remastering.
Sills is, admittedly, pushing the limits of her capabilities...but, by doing the role in sessions, she is really very good on the recording.
Admittedly, in a live performance, straight through, there is the electricity of interaction with other characters on stage, taking the heights up a notch, and this is where she really did the damage to her voice.
Her compatriots here are all really serviceable...we are so lucky to have this recording, why be objectionally picky? DG has done a remarkable job remastering this particular recording. I remember the ABC pressing on LP years ago, and am pleased with the care attended here to the remastering.
Maria Stuarda, is, again, another special recording.
Eileen Farrell came out of retirement to do this recording as a favor to Beverly, and we are very lucky to have them paired together.
I must admit that I wish Mackerras was again at the helm here, however. There is no doubt in my mind that the whole would have been greater with his control and "color" on the orchestra. But, with the only other exceptions the old Callas with great cuts, and the Sutherland, we have few choices, and we take this recording most gladly. It is commendable.
Eileen Farrell came out of retirement to do this recording as a favor to Beverly, and we are very lucky to have them paired together.
I must admit that I wish Mackerras was again at the helm here, however. There is no doubt in my mind that the whole would have been greater with his control and "color" on the orchestra. But, with the only other exceptions the old Callas with great cuts, and the Sutherland, we have few choices, and we take this recording most gladly. It is commendable.
I feel that Anna Bolena is the weakest of the three works, but it has some
extrodinary things in it, particularly the confrontation in the garden!
Man, the first time I heard this, I stood right up out of my chair!
Paul Plishka was a wonderful Henry, and Shirley Verrett certainly made her mark with Jane Seymour. Again, most commendable.
Man, the first time I heard this, I stood right up out of my chair!
Paul Plishka was a wonderful Henry, and Shirley Verrett certainly made her mark with Jane Seymour. Again, most commendable.
I, as stated above, remember the old ABC LP pressings....they were
terrible, as we all know! It is so wonderful to have these recordings, again,
this time in pristine, lovingly remastered editions. Thank You, DG/Universal for
lavishing the care on these lovely old recordings that you have for our
enjoyment.
A tremendous, and fitting, tribute to Beverly Sills.
I might add that I feel you might wish to pick up this set very soon, as
lately things have been getting re-issued in budget sets without libretti and
informational booklets, and this is a shame, especially with a great set like
this one.
Also, noting the complaints about them being so "expensive"....come on, folks, wise up!!! You're getting three operas here for $80 or less, through secondary dealers, just how expensive does one really think this is? OK, enough preaching! Enjoy this set, and be thankful that we have it!
Also, noting the complaints about them being so "expensive"....come on, folks, wise up!!! You're getting three operas here for $80 or less, through secondary dealers, just how expensive does one really think this is? OK, enough preaching! Enjoy this set, and be thankful that we have it!
It is July 3rd and Beverly Sills has passed away..it is very sad, but, when you listen to these cds nothing about her career as a singer was at all sad.
I treasure these and all of her other works. She was the glory of American
opera.
Buy all of her cds and see how persuasive they are, how ravishing, and how
generous. Her presence on the Met Live Broadcasts was so invigorating, and her
wonderful praise of Anna Netrbko, and others singing her repertoire. It is hard
to imagine Lincoln Center without her, a presence so positive, so high
vibration...
The stars are brighter with her as our representative in the heavens!
The
Most Wonderful Compilation of the Tudor Queens.
Donizetti revolutionized the way dramatic opera was written when he penned the scores of the "Tudor Trilogy" in the 1830s: "Anna Bolena" (1830 -- cfr. "Castello di Kennilworth", 1829), "Maria Stuarda" (1834, Napoli, 1835, La Scala), and "Roberto Devereux; ossia, il secondo conte di Essex" (1837, Napoli).
These were the operas that put tragedy on the map after a long history of Italian opera constantly refurbished for a comic ending to please the tastes of the public.
Donizetti's magnificent music, with its complex runs and melodramma-infused composition, changed all of that, and history owes much of the great Verdi and Puccini dramas to Donizetti.
Take the confrontation between Maria Stuarda and Elisabetta, for example.
This scene alone was the inspiration for the several great soprano-mezzo confrontation scenes that would grace the plots of Aida and Don Carlo, to name a few of the operas that Donizetti influenced.
Anna Bolena, one of my favorite operas, was the first opera that put tragedy on the operatic map, eliminating the necessity to give operas comic endings (remember that Tancredi had to be revised by Rossini to please the public).
Roberto Devereux, a product of Donizetti's more mature musical skills, combines many of these great attributes that makes Donizetti so exciting and gives the prima donna a chance to display her vocal and dramatic prowess.
Donizetti revolutionized the way dramatic opera was written when he penned the scores of the "Tudor Trilogy" in the 1830s: "Anna Bolena" (1830 -- cfr. "Castello di Kennilworth", 1829), "Maria Stuarda" (1834, Napoli, 1835, La Scala), and "Roberto Devereux; ossia, il secondo conte di Essex" (1837, Napoli).
These were the operas that put tragedy on the map after a long history of Italian opera constantly refurbished for a comic ending to please the tastes of the public.
Donizetti's magnificent music, with its complex runs and melodramma-infused composition, changed all of that, and history owes much of the great Verdi and Puccini dramas to Donizetti.
Take the confrontation between Maria Stuarda and Elisabetta, for example.
This scene alone was the inspiration for the several great soprano-mezzo confrontation scenes that would grace the plots of Aida and Don Carlo, to name a few of the operas that Donizetti influenced.
Anna Bolena, one of my favorite operas, was the first opera that put tragedy on the operatic map, eliminating the necessity to give operas comic endings (remember that Tancredi had to be revised by Rossini to please the public).
Roberto Devereux, a product of Donizetti's more mature musical skills, combines many of these great attributes that makes Donizetti so exciting and gives the prima donna a chance to display her vocal and dramatic prowess.
Of course, the very critical art lover scrutinizes the Donizetti
librettos with disdain after he slashes these operas and turns FACT around to
give way to dramatic fireworks.
But who cares if he did this especially if Mary Stuart calls Elizabeth a "vil bastarda!?"
With such dramatic pyrotechnics in these operas, one would imagine that perhaps a heftier voice with the Norma metal is needed to make these roles more vivid, such as that of Maria Callas.
Beverly Sills, however, makes these roles so real, regal, and dramatically powerful that one forgets all the shortcomings that come as a result of the lightness of her voice.
Among these three recordings, if I had to pick any one of them, I would say that her greatest achievement is her Roberto Devereux made with Sir Charles Mackerras.
Every vocal gesture, inflection, emotion, and firework is covered by Sills with a grace and technique that escapes several of today's Elizabeths.
She is the queen incarnate, and if it did cut ten years out of her career, I am only glad that she sang the queen.
She is partnerred by a cast that is not up to her level, but her singing alone makes her queen worthwhile. A definitive recording there.
But who cares if he did this especially if Mary Stuart calls Elizabeth a "vil bastarda!?"
With such dramatic pyrotechnics in these operas, one would imagine that perhaps a heftier voice with the Norma metal is needed to make these roles more vivid, such as that of Maria Callas.
Beverly Sills, however, makes these roles so real, regal, and dramatically powerful that one forgets all the shortcomings that come as a result of the lightness of her voice.
Among these three recordings, if I had to pick any one of them, I would say that her greatest achievement is her Roberto Devereux made with Sir Charles Mackerras.
Every vocal gesture, inflection, emotion, and firework is covered by Sills with a grace and technique that escapes several of today's Elizabeths.
She is the queen incarnate, and if it did cut ten years out of her career, I am only glad that she sang the queen.
She is partnerred by a cast that is not up to her level, but her singing alone makes her queen worthwhile. A definitive recording there.
Her Maria Stuarda is also perhaps the most satisfying account of the opera
that I've heard.
With Eileen Farrell as Elizabeth hurling dynamites whenever her mouth opens and Sills is superb form as Maria, I would say that this recording is my favorite Maria Stuarda on disc.
The confrontation scene is simply to die for, and the last act with Sills saying her prayer is heartfelt and beautiful.
Ceccato is not the most exciting conductor, but Stuart Burrows makes a very sensitive and graceful Roberto, conte di Leicester.
I must add this though: if you really want to find a great Maria Stuarda, you must search very hard for a live recording of the opera from New York made in 1972 with Beverly Sills and Marisa Galvany as the colliding queens.
The heat of that recording is simply out of this world and if you cannot find it, I am willing to burn you a copy.
With Eileen Farrell as Elizabeth hurling dynamites whenever her mouth opens and Sills is superb form as Maria, I would say that this recording is my favorite Maria Stuarda on disc.
The confrontation scene is simply to die for, and the last act with Sills saying her prayer is heartfelt and beautiful.
Ceccato is not the most exciting conductor, but Stuart Burrows makes a very sensitive and graceful Roberto, conte di Leicester.
I must add this though: if you really want to find a great Maria Stuarda, you must search very hard for a live recording of the opera from New York made in 1972 with Beverly Sills and Marisa Galvany as the colliding queens.
The heat of that recording is simply out of this world and if you cannot find it, I am willing to burn you a copy.
Anna Bolena is no weak link either. Some people would compare this to Maria
Callas' live Scala performance, a legendary night which in my opinion would
never be repeated again.
Sills was no Callas in terms of voice, but she was equipped with a voice that could handle the role in her own special way.
Sills had a very touching Anna Bolena with a conductor, supporting cast, and a complete score that makes her Bolena essential. Her Giovanna Seymour is Shirley Verrett, a perfect foil to Sills vocally and dramatically. Verrett also sounds younger than Simionato, which is an asset to this recording of the opera. My favorite recording though, is another pirate recording.
This recording is a live performance from New York with the superb, magnificent, mind-blowing soprano Marisa Galvany as Bolena, Olivia Stapp as Seymour, and Samuel Ramey's definitive Henry. A recording that must not be missed, and one that you must hunt for.
Sills was no Callas in terms of voice, but she was equipped with a voice that could handle the role in her own special way.
Sills had a very touching Anna Bolena with a conductor, supporting cast, and a complete score that makes her Bolena essential. Her Giovanna Seymour is Shirley Verrett, a perfect foil to Sills vocally and dramatically. Verrett also sounds younger than Simionato, which is an asset to this recording of the opera. My favorite recording though, is another pirate recording.
This recording is a live performance from New York with the superb, magnificent, mind-blowing soprano Marisa Galvany as Bolena, Olivia Stapp as Seymour, and Samuel Ramey's definitive Henry. A recording that must not be missed, and one that you must hunt for.
Sills was most renowned for her fiery
portrayal as Elizabeth, and i believe she worked the hardest on that particular
role.
She researched the character, studied her personality, practiced gestures, practically slept with the books under her pillow. And here, we can hear the results (without even seeing!). Of course, Beverly already was great with voice acting to begin with, but add on top of it all the research, commitment, and unflawed singing...you get a truly astounding recording!
In Maria Stuarda, check out the confrontation scene.
This is one of the most dramatic moments in opera.
And there's the added bonus of having the underrecorded but extremely talented dramatic soprano Eileen Farrell as Elizabeth. Hear how they lash out at each other. Incredibly exciting! And Maria's final scene is touching. In one NYCO performance a woman cried out, "NO!" just when Maria's head was going to be chopped off (lights go out-blackout). If this isn't dramatic I don't know what is.
She researched the character, studied her personality, practiced gestures, practically slept with the books under her pillow. And here, we can hear the results (without even seeing!). Of course, Beverly already was great with voice acting to begin with, but add on top of it all the research, commitment, and unflawed singing...you get a truly astounding recording!
In Maria Stuarda, check out the confrontation scene.
This is one of the most dramatic moments in opera.
And there's the added bonus of having the underrecorded but extremely talented dramatic soprano Eileen Farrell as Elizabeth. Hear how they lash out at each other. Incredibly exciting! And Maria's final scene is touching. In one NYCO performance a woman cried out, "NO!" just when Maria's head was going to be chopped off (lights go out-blackout). If this isn't dramatic I don't know what is.
For me the most exciting scene in Anna Bolena is the mad scene.
This is actually just as great as Lucia's mad scene, in my opinion.
Anna, though being in jail, has illusions of herself being with King Henry. When reality comes crashing back on her, WOW, get ready for the intense madness. Coppa Iniqua is heartbreaking. Sills uses a weeping timbre, and outbursts of anger in her voice, all to incredible effect.
This is actually just as great as Lucia's mad scene, in my opinion.
Anna, though being in jail, has illusions of herself being with King Henry. When reality comes crashing back on her, WOW, get ready for the intense madness. Coppa Iniqua is heartbreaking. Sills uses a weeping timbre, and outbursts of anger in her voice, all to incredible effect.
I have begun listening to opera only about 3 years ago. I feel very happy
that these 3 recordings together gave me a sense of what opera can be-
incredible musical theatre. Beverly Sills and the 3 Queens will always have a
special place in my heart.
This is a Callasfan speaking. I
love Callas and Sills, I think this and "The art of the Primadonna" (With
Joanie) is supreme.
But hear me out: I think it's obvious that only the famous Callas-recs on Emi are slandered and the efforts on other labels judged fairly, even if the reviewers didn't like Callas.
Lets get back to balance and fairness.
I never wrote a one-star review on Beverly and I never will. Here and there I complained and fought against fanatism.
Neither Callas-fanatism nor Sutherland-fanatism nor Sills-fanatism is good. Neither of them was perfect. Both had their pros and cons. Please, you guys, edit your reviews and write them fairly. Thus we'll prevent an even greater outrage. Us operafans should stick together. I'm willing to start. Please, lets be on this together
But hear me out: I think it's obvious that only the famous Callas-recs on Emi are slandered and the efforts on other labels judged fairly, even if the reviewers didn't like Callas.
Lets get back to balance and fairness.
I never wrote a one-star review on Beverly and I never will. Here and there I complained and fought against fanatism.
Neither Callas-fanatism nor Sutherland-fanatism nor Sills-fanatism is good. Neither of them was perfect. Both had their pros and cons. Please, you guys, edit your reviews and write them fairly. Thus we'll prevent an even greater outrage. Us operafans should stick together. I'm willing to start. Please, lets be on this together
THE most incredible accounts of these works.
This may sound completely bias, but this recording of these operas IS the recording worth having.
There are pirates of Callas in Anna Bolena, but the score is so heavily cut (not just her part, but nearly all the others to the point you have no real clue about the roles themselves) the opera is lost; Sutherlands "Stuarta" is very well sung, but lacks interest and Tourangeau is NOT that good in it. There is a complete recording of Anna Bolena with Suliotis and Horne (Horne is great, Suliotis is NOT), and for a long time it was the only one available, and it is disappointing. These recordings are NOT without their flaws. There are cast members that are not the best of choices, but yet, even with their weaknesses, it all seems to work as a whole.
The operas are not equal in their quality.
I rate Maria Stuarta the weakest of the operas despite a more than exciting scene in the garden where the two rival queens confront each other (and this recording is the ONLY one where the fire really flies).
The strongest opera dramatically is not the more famous Anna Bolena, but rather Roberto Devereaux. This work is every bit as dramatic as late Verdi.
Some saw Sills in the New York Production of Roberto Devereaux, and I have to say, I was stunned with her singing, her acting (which by the way has no relationship to standard operatic acting; were she speaking the words, her acting could easily be up there with any great theatre actor), and her presentation. She LOOKED EXACTLY like Queen Elizabeth the first.
None of the other singers who have sung the role can claim that. The entire cast were her equals in their singing, and acting. The entire production was overwhelming. I believe it is nearly the same cast singing in this recording, and they work as well on disk as they did on stage. It is the opera of the three worth hearing first. After you have become hooked, then listen to Anna Bolena. It is not as interesting, and it has its weaknesses, but the Henry VIII and the Jane Seymour are more than equals. Maria Stuarta is sung well, very well. Everyone does a super job with their parts, and Farrell is quite an interesting choice in a Bel Canto Opera. I was expecting the worst coloratura possible, after all she is mostly Wagner, or blues. I was stunned. She did remarkably well. The two women understand what it means to breath life and emotion into their music, and Farrell and Sills play off each other perfectly.
If you can afford the recording, it is well worth the price.
Sills did a wonderful job in most everything she sang. It is so sad that her recordings are so few and far between. I bought all of these operas on record way back when they came out (they were sold separately, not as a group), and played them till I wore them out. I have never played any opera I have owned like that, not Callas, or Sutherland, and I love them deeply. I actually had to buy Devereaux three times, as the copies became unplayable. Thank goodness we have CD's now, and the super exciting parts can be played over and over without wearing them out.
Sills did a wonderful job in most everything she sang. It is so sad that her recordings are so few and far between. I bought all of these operas on record way back when they came out (they were sold separately, not as a group), and played them till I wore them out. I have never played any opera I have owned like that, not Callas, or Sutherland, and I love them deeply. I actually had to buy Devereaux three times, as the copies became unplayable. Thank goodness we have CD's now, and the super exciting parts can be played over and over without wearing them out.
This is the best of the best. Buy it, and you won't go wrong.
Each opera is great, some better than others, but at no time do any of the works disappoint. With performances like these, they even make you think they are Donizetti's masterpieces.
Each opera is great, some better than others, but at no time do any of the works disappoint. With performances like these, they even make you think they are Donizetti's masterpieces.
This is to let others know that a previous reviewer erroneously said that Sills was way past her prime, and that the voice is "thin".
Well, if you love big, lush voices like Sutherlands, then perhaps Beverly's voice is a bit "thin".
But in the general mix of voices you get from coloratura sopranos all over the world, Sills has a very good size voice. It's much fuller than Natalie Dessay's, Sumi Jo's, Celena Shafer's, etc. And to point something out, Sutherland's coloratura voice was UNCOMMONLY big. She was the exception (not the standard) and people absolutely loved it, but the reviewers below need to remember that little fact. In addition Beverly is not way past her prime. She is in her freshest voice in the Roberto recording (VERY fresh voice). In the Maria Stuarda and the Anna Bolena, the voice has lost some flexibility, but it's still a top notch vocal and dramatic performance. Beverly's vocal state in 1973 is still a lot better than the majority of coloraturas today in their prime. For Beverly in her MOST absolute prime, listen to her Manon, Cleopatra, Fille (on the opera'doro label), and of course this Roberto Devereux. Listen for yourself, and you'll find out that the allegations below aren't true at all. Those reviews have come at a time when a diva war brewing, so the reviews have come mainly from anger, over bashings, than from a genuine assessment made after truly having listened to these unmatchable recordings of these 3 operas. Beverly's vocal acting is the best ever, and the fioritura/coloratura (and all singing in general) is EXCELLENT. I consider this 3 Queens set to be the "big daddy" (or should I say, mommy) of all the recordings in my opera collection.
Sills bashers have crossed the line!!!
... For those who have taste and
enjoy these recordings, they are more than willing to shell out the bucks, cuz
these are first-rate, and THE BEST recordings of these operas out there. They
were legendary as LPs, and they are equally as legendary now.
Too expensive, and boring, and overpriced.
I don't recommend. It's too long. The
operas are boring. Sill's voice is way past it's prime. It is terrible. The
sound is not bad though. But the Sills voice never sounds so effortful and just
thin. Her high notes are pathetic. I think she is a light coloratura, and should
stay with singing Fledermous's maid. Sorry, that's my opinion. But although her
coloratura is excellent. Her voice is too thin and has too much air and cutting
edge. She is only good before she was famous. Her "Baby Doe" is superb. But
otherwise, her voice is just too shrill.
Why do you think she's called Beverly Shrill?
Why do you think she's called Beverly Shrill?
I only like Roberto Devereux.
The other two operas are too dark. I love Sills in lighter operas. Maybe if they break this set into three. IT's too long.
The technique is equal to Sutherland.
The acting is superior to Callas. But her voice is in tiny, tiny. Too much edge
and spread. At best she has to be amplified to be heard.
At first hearing you are in awe. But after listening in person, you realize the voice is even inferior to Callas because it is just so small.
She is a fine singer. But not in the league of Callas or Sutherland, or even Caballe.
At first hearing you are in awe. But after listening in person, you realize the voice is even inferior to Callas because it is just so small.
She is a fine singer. But not in the league of Callas or Sutherland, or even Caballe.
Italian Opera As Vintage Drama: You Have To Hear This!
Donizetti's three "Tudor" operas, Anna Bolena (1830 -- cfr. "Castello", 1829), "Maria Stuarda" (1834 and 1835) and "Roberto Devereaux; ossia, il secondo conte di Essex" are the pinnacle of Italian opera.
These operas underwent revivals in the 60's and 70's, sung by the leading sopranos of the time- Maria Callas, Joan Sutherland and Beverly Sills.
Although I am in favor of Beverly Sills, and thus, will praise her powerful performance, I will not only get you into the singer herself, but the operas themselves as quality drama and beautiful Italian opera.
Bel canto operas emphasize beauty and vocal color in the human voice.
But if not for the efforts of Beverly Sills, American spokesperson for the living art of opera, these and other operas would have gone into obscurity.
Sills also proved how these operas can serve as great drama.
There is large number who claim that Beverly Sills herself resurrected these operas single-handledly!
By deconstructing each opera, you will see how these operas are an essential part of any opera lover and opera tyrant's collection.
-----
DECONSTRUCTING THE TUDOR TRILOGY:
LA PRIMA PARTE DELLA TRILOGIA: "ANNA BOLENA" (Tenor role: Percy, created by Rubini), 1830 -- cfr. 1829, Castello di Kennilworth.
Anna Bolena tells the tragic story of Anne Boylen, Henry VIII's second wife and the most famous.
Anne never gave him any male heirs (she had miscarriages) and only successfully bore him a daughter, but what a daughter!
She turned out to be Queen Elizabeth I.
Henry 8th accuses Anne of adultery and has her beheaded, even though his sole intention was to get rid of her in order to marry another.
In the opera, Henry VIII is a bass role sung masterfully by Paul Plishka, who does not have a single aria but is well developed through ensembles, duets and recitatives.
His jealousy and downright nasty behavior is clear though Plishka's performance.
He is already bent on marrying Jane Seymour, whose role is sung by dramatic/mezzo Shirley Verret, in a knock-out performance.
Beverly's portrayal of Anne is effectively dramatic and touching, we genuinely feel for the tragic victim of Henry 8th's unjust anger.
Julius Rudel conducts an upbeat, dramatic score, superb in all the rousing ensembles.
Shirley Verret's greatest moments are in her entrance aria, her "La Mia Fama" and her duet at the close of the second act with Anne.
Tenor Stuart Burrows's portrayal of sympahtetic Percy is unique.
Burrows is an elegant tenor di grazia and his duets with Anne are exceptional, a man in love with Anne, wanting to free her from her tragic situation, but is powerless against greater forces.
Beverly Sills' great moments are in her aria/ensemble "Non Va Sguardo", full of spiraling vocal trills, "Come Un Innocente Giovine", "Cielo, a mie lunghi spasimi" and her final fiery aria, in which she prepares to be executed and watches Henry marry Jane from afar, the great aria "Copia Iniqua".
Donizetti's three "Tudor" operas, Anna Bolena (1830 -- cfr. "Castello", 1829), "Maria Stuarda" (1834 and 1835) and "Roberto Devereaux; ossia, il secondo conte di Essex" are the pinnacle of Italian opera.
These operas underwent revivals in the 60's and 70's, sung by the leading sopranos of the time- Maria Callas, Joan Sutherland and Beverly Sills.
Although I am in favor of Beverly Sills, and thus, will praise her powerful performance, I will not only get you into the singer herself, but the operas themselves as quality drama and beautiful Italian opera.
Bel canto operas emphasize beauty and vocal color in the human voice.
But if not for the efforts of Beverly Sills, American spokesperson for the living art of opera, these and other operas would have gone into obscurity.
Sills also proved how these operas can serve as great drama.
There is large number who claim that Beverly Sills herself resurrected these operas single-handledly!
By deconstructing each opera, you will see how these operas are an essential part of any opera lover and opera tyrant's collection.
-----
DECONSTRUCTING THE TUDOR TRILOGY:
LA PRIMA PARTE DELLA TRILOGIA: "ANNA BOLENA" (Tenor role: Percy, created by Rubini), 1830 -- cfr. 1829, Castello di Kennilworth.
Anna Bolena tells the tragic story of Anne Boylen, Henry VIII's second wife and the most famous.
Anne never gave him any male heirs (she had miscarriages) and only successfully bore him a daughter, but what a daughter!
She turned out to be Queen Elizabeth I.
Henry 8th accuses Anne of adultery and has her beheaded, even though his sole intention was to get rid of her in order to marry another.
In the opera, Henry VIII is a bass role sung masterfully by Paul Plishka, who does not have a single aria but is well developed through ensembles, duets and recitatives.
His jealousy and downright nasty behavior is clear though Plishka's performance.
He is already bent on marrying Jane Seymour, whose role is sung by dramatic/mezzo Shirley Verret, in a knock-out performance.
Beverly's portrayal of Anne is effectively dramatic and touching, we genuinely feel for the tragic victim of Henry 8th's unjust anger.
Julius Rudel conducts an upbeat, dramatic score, superb in all the rousing ensembles.
Shirley Verret's greatest moments are in her entrance aria, her "La Mia Fama" and her duet at the close of the second act with Anne.
Tenor Stuart Burrows's portrayal of sympahtetic Percy is unique.
Burrows is an elegant tenor di grazia and his duets with Anne are exceptional, a man in love with Anne, wanting to free her from her tragic situation, but is powerless against greater forces.
Beverly Sills' great moments are in her aria/ensemble "Non Va Sguardo", full of spiraling vocal trills, "Come Un Innocente Giovine", "Cielo, a mie lunghi spasimi" and her final fiery aria, in which she prepares to be executed and watches Henry marry Jane from afar, the great aria "Copia Iniqua".
----
LA SECONDA PARTE DELLA TRILOGIA DEI TUDOR: "La Maria Stuarda" (1834, Napoli, 1835, La Scala -- tenor role ROBERTO, conte di LEICESTER, created by Domenico Reina.
"Maria Stuarda" tells the story of Mary Stewart, a controversial Catholic
queen who proved to be a great threat to the British monarchy, especially a
rival to Elizabeth I.
She is sentenced to death after what was supposedly a conspiracy against the Queen.
In this opera, Elizabeth and Mary Stewart (Sills and Farrel) confront at the castle prison Fotheringay and in a sublime duet-battle, Anne insults Elizabeth with the words "Figlia Impura Di Bolena" and "Vil Bastarda".
Notice how venom is in every one of Anna's lines, including her shout "No!."
Eilen Farrel steals the show, for her more dramatic soprano character makes Mary Stewart the victim that Donizetti made her to be.
Sills' great moments are her coloratura aria "O Nube!" and the subsequent aria before she confronts the Queen, her voice raises above the closing sextet of Act 2, her confession scene, her prayer aria, full of high sustained lines as a choral ensemble sing in unison, and her execution scene.
She is sentenced to death after what was supposedly a conspiracy against the Queen.
In this opera, Elizabeth and Mary Stewart (Sills and Farrel) confront at the castle prison Fotheringay and in a sublime duet-battle, Anne insults Elizabeth with the words "Figlia Impura Di Bolena" and "Vil Bastarda".
Notice how venom is in every one of Anna's lines, including her shout "No!."
Eilen Farrel steals the show, for her more dramatic soprano character makes Mary Stewart the victim that Donizetti made her to be.
Sills' great moments are her coloratura aria "O Nube!" and the subsequent aria before she confronts the Queen, her voice raises above the closing sextet of Act 2, her confession scene, her prayer aria, full of high sustained lines as a choral ensemble sing in unison, and her execution scene.
LA TERZA PARTE DELLA TRILOGIA DEI TUDOR: "ROBERTO DEVEREUX; ossia, il secondo conte di Essex" (Napoli, 1837).
"Roberto Deveraux; ossia, il secondo conte di Essex" has got to be the greatest of the three.
In 1970, it was first performed by Placido Domingo and Beverly Sills.
It got Beverly a cover on Time Magazine.
Next to Bellini's Norma, the raging Queen Elizabeth in this opera is one of opera's most dramatic characters.
Tenor Peter Glossop sings Roberto Devereux in this recording, as Domingo was contractually unavailable, and he is most brilliant in his aria with Sills, which follows her line "un lampo, un lampo!", his duet with Sara and his Prison Scene.
Beverly Sills' Queen has a lot of variety.
In her aria "A Ritorna Qual Ti Spero" she sings about her love for Devereaux through coloratura passages, ,she inflects vibrato on the words "amor" in the lines "amor ti guida". In Act 2, the passive queen no longer exists and she has raging scales that are the equal of Bellini's Norma. Example: Un perfido! Un vile!" at one points she slaps Devereaux, she uses venom on the word "obstinato " and "Fero di morte un gel!". Condemning Devereaux to death, she shouts "Va!" with delicious wickedness which follows a striking ensemble "Va La Morte Sul Copo Ti Pende". Her final moments, she becomes genuinely guilty and full of remorse for having Deveraux killed and not being able to stop it. "Vivi Ingrato" is the soprano equivalen of "Vesti La Giubba" from I Pagliaci. Her remorse is choked in her concluding lines "sospirar" and finally, the ending is rousing as she concludes with "Quel Sangre Versato" proclaiming that she has lost something greater than the throne: her true love. If there is a greater opera, I'd like to hear about it.
In 1970, it was first performed by Placido Domingo and Beverly Sills.
It got Beverly a cover on Time Magazine.
Next to Bellini's Norma, the raging Queen Elizabeth in this opera is one of opera's most dramatic characters.
Tenor Peter Glossop sings Roberto Devereux in this recording, as Domingo was contractually unavailable, and he is most brilliant in his aria with Sills, which follows her line "un lampo, un lampo!", his duet with Sara and his Prison Scene.
Beverly Sills' Queen has a lot of variety.
In her aria "A Ritorna Qual Ti Spero" she sings about her love for Devereaux through coloratura passages, ,she inflects vibrato on the words "amor" in the lines "amor ti guida". In Act 2, the passive queen no longer exists and she has raging scales that are the equal of Bellini's Norma. Example: Un perfido! Un vile!" at one points she slaps Devereaux, she uses venom on the word "obstinato " and "Fero di morte un gel!". Condemning Devereaux to death, she shouts "Va!" with delicious wickedness which follows a striking ensemble "Va La Morte Sul Copo Ti Pende". Her final moments, she becomes genuinely guilty and full of remorse for having Deveraux killed and not being able to stop it. "Vivi Ingrato" is the soprano equivalen of "Vesti La Giubba" from I Pagliaci. Her remorse is choked in her concluding lines "sospirar" and finally, the ending is rousing as she concludes with "Quel Sangre Versato" proclaiming that she has lost something greater than the throne: her true love. If there is a greater opera, I'd like to hear about it.
5.0 out of 5 stars The
Greatest Italian Operas Ever Made,
You'd be surprised. I am very educated about the great art form
and have a plethora of knowledge surrounding the magic sound-world of opera.
Is it an exaggerated statement to claim that Donizetti's Three Queens- Anna Bolena, Maria Stuarda and Roberto Devereaux are the greatest Italian operas?
They are a immensely dramatic and beautiful bel canto operas, and had it not been for the efforts of Beverly Sills, these operas would have gone into obscurity.
These three operas, of course, are Beverly Sill's greatest performances, the crowning achievement being the raging, white-rouged Queen Elizabeth I.
Sills herself admitted that the role was her finest hour and that because of the tremendous amount of breath control and dramatic timbres, her career was shortened.
It was also due to the cancer operation she underwent which took her breath control.
But Beverly Sills will always be remembered for these portrayals of the great English queens, in the future, she will be spoken of with great honour not only for her beautiful singing, but for her efforts in advancing the cause of opera.
Anna Bolena tells the story of Anne Boylen, second wife of Henry the Eigth, who was unable to give him male heirs.
Henry accuses Anne of adultery (in the opera, which strays from the actual history) Anne has already been married to Percy.
Anne is executed but not before a Mad Scene that is unlike Lucia Di Lammermoor.
Stuart Burrows' tenor performance is extraordinary an Shirley Verret as Jane Seymour is particularily impressive in her duet with Anne (Beverly Sills, who captivates us in her final aria "Copia Iniquia".
Sills loved the role of Anna, saying it is a good role for coloratura/dramatic sopranos, requiring fairly easy bel canto lines that gradually become intense in the final scene of execution.
-------------------------------------------
Maria Stuarda is about Elizabeth I's COUSIN, and RIVAL to the throne of GREAT BRITAIN, Mary Stuart.
Mary is accused of conspiracy against the Queen and is said to have even killed her own husband.
The great moments in the opera are to be found in the confrontation between the two soprano queens (Eileen Farrel and Sills) in which insults are exchanged and the derogatory use of the words, "Vile Bastarda! and the soaring lines that Sills' Stuarda sings as she prays for God's forgiveness against an ensemble chorus during her execution (Three canon shots are actually shot).
----
Roberto Deveraux originally performed in 1971, with Placido Domingo as Roberto, landed Beverly Sills a cover on Time magazine and an article that hailed her as the queen of opera.
Roberto, Earl of Essex, once loved Queen Elizabeth.
But now, Elizabeth has aged and Roberto has found a new love in Sara, the Queen's handmaiden.
Although the Queen accuses Roberto of betrayal on political grounds , we know all too well it is for personal reasons.
Her heart is broken.
She orders his execution, later repents and tries to prevent the canon from being shot, but it is too late.
The Queen's fiery temperament and powerful presence is performed and sung dramatically by Beverly Sills, as it is clear through her aria "Vivi ingrato" she ends in a high D pianissimo.
Roberto's arias are showstopping and an ambition for tenors, and the final lines in which the Queen is in despair "La Regina D'Inglaterra" are exquisite and beautiful. Must have for fans of opera.
Fondly, Sills remembers, "I knew when I saw those words that this was the part I had to do. It's the pivotal moment in the opera when Elizabeth says to Devereaux, "It would have been better for you to incite the wrath of the gods than to incite the wrath of the descendant of the terrible Henry 8th! That's drama. That's opera."
Is it an exaggerated statement to claim that Donizetti's Three Queens- Anna Bolena, Maria Stuarda and Roberto Devereaux are the greatest Italian operas?
They are a immensely dramatic and beautiful bel canto operas, and had it not been for the efforts of Beverly Sills, these operas would have gone into obscurity.
These three operas, of course, are Beverly Sill's greatest performances, the crowning achievement being the raging, white-rouged Queen Elizabeth I.
Sills herself admitted that the role was her finest hour and that because of the tremendous amount of breath control and dramatic timbres, her career was shortened.
It was also due to the cancer operation she underwent which took her breath control.
But Beverly Sills will always be remembered for these portrayals of the great English queens, in the future, she will be spoken of with great honour not only for her beautiful singing, but for her efforts in advancing the cause of opera.
Anna Bolena tells the story of Anne Boylen, second wife of Henry the Eigth, who was unable to give him male heirs.
Henry accuses Anne of adultery (in the opera, which strays from the actual history) Anne has already been married to Percy.
Anne is executed but not before a Mad Scene that is unlike Lucia Di Lammermoor.
Stuart Burrows' tenor performance is extraordinary an Shirley Verret as Jane Seymour is particularily impressive in her duet with Anne (Beverly Sills, who captivates us in her final aria "Copia Iniquia".
Sills loved the role of Anna, saying it is a good role for coloratura/dramatic sopranos, requiring fairly easy bel canto lines that gradually become intense in the final scene of execution.
-------------------------------------------
Maria Stuarda is about Elizabeth I's COUSIN, and RIVAL to the throne of GREAT BRITAIN, Mary Stuart.
Mary is accused of conspiracy against the Queen and is said to have even killed her own husband.
The great moments in the opera are to be found in the confrontation between the two soprano queens (Eileen Farrel and Sills) in which insults are exchanged and the derogatory use of the words, "Vile Bastarda! and the soaring lines that Sills' Stuarda sings as she prays for God's forgiveness against an ensemble chorus during her execution (Three canon shots are actually shot).
----
Roberto Deveraux originally performed in 1971, with Placido Domingo as Roberto, landed Beverly Sills a cover on Time magazine and an article that hailed her as the queen of opera.
Roberto, Earl of Essex, once loved Queen Elizabeth.
But now, Elizabeth has aged and Roberto has found a new love in Sara, the Queen's handmaiden.
Although the Queen accuses Roberto of betrayal on political grounds , we know all too well it is for personal reasons.
Her heart is broken.
She orders his execution, later repents and tries to prevent the canon from being shot, but it is too late.
The Queen's fiery temperament and powerful presence is performed and sung dramatically by Beverly Sills, as it is clear through her aria "Vivi ingrato" she ends in a high D pianissimo.
Roberto's arias are showstopping and an ambition for tenors, and the final lines in which the Queen is in despair "La Regina D'Inglaterra" are exquisite and beautiful. Must have for fans of opera.
Fondly, Sills remembers, "I knew when I saw those words that this was the part I had to do. It's the pivotal moment in the opera when Elizabeth says to Devereaux, "It would have been better for you to incite the wrath of the gods than to incite the wrath of the descendant of the terrible Henry 8th! That's drama. That's opera."
OPERA ROYALTY...LONG LIVE THE QUEEN
Better than Maria Callas, greater than Joan
Sutherland, Beverly Sills stands out as the ultimate Queen of Opera, a title
bestowed upon her by admirers and critics.
During the 60's and 70's she rose to power, this voluptuous, red haired diva, with an ingratiating personality and genuine soul. All Beverly Sills fans must own this exquisite cd set, originally on three separate LPs, also avaible on separate cd's.
It is the Donizetti opera TRILOGIA about three distinctive British queens that left a powerful mark on history:
Anna Bolena (Anne Boylen)
Maria Stuarda (Mary Stewart) and
Elizabeth I.
Their dramatic tales full of romance, passion, British politics and court intrigue is masterfully captured in Donizetti's glorious music.
The ensembles, the duets, the fire in the voices, all compose not only the greatest achievement in bel canto opera, but in Beverly Sills' short-lived career.
Of all her successful performances (including Violetta in La Traviata, The Queen of the Night in Mozart's Magid Flute, Lucia Di Lammermoor, Manon, and the three heroines in Offenbach's The Tales Of Hoffman) these performances as the Queens are absolutely the best. Don't take my word for it. Just read the reviews of many satisfied listeners. This set surpasses even that of Edita Gruberova's rendition. I recommend this to any opera fan, and I hope you thank me later. Five Stars for this incredible box set. Long live the queen of Opera!
During the 60's and 70's she rose to power, this voluptuous, red haired diva, with an ingratiating personality and genuine soul. All Beverly Sills fans must own this exquisite cd set, originally on three separate LPs, also avaible on separate cd's.
It is the Donizetti opera TRILOGIA about three distinctive British queens that left a powerful mark on history:
Anna Bolena (Anne Boylen)
Maria Stuarda (Mary Stewart) and
Elizabeth I.
Their dramatic tales full of romance, passion, British politics and court intrigue is masterfully captured in Donizetti's glorious music.
The ensembles, the duets, the fire in the voices, all compose not only the greatest achievement in bel canto opera, but in Beverly Sills' short-lived career.
Of all her successful performances (including Violetta in La Traviata, The Queen of the Night in Mozart's Magid Flute, Lucia Di Lammermoor, Manon, and the three heroines in Offenbach's The Tales Of Hoffman) these performances as the Queens are absolutely the best. Don't take my word for it. Just read the reviews of many satisfied listeners. This set surpasses even that of Edita Gruberova's rendition. I recommend this to any opera fan, and I hope you thank me later. Five Stars for this incredible box set. Long live the queen of Opera!
With their magnificent reissue of the Three Queens DDG have managed to do honor to the superb artisty of
Beverly Sills where no one else has seemed moved to do so.
She is one of the very few great artists who truly is that and more. Superb singer, extraordinary actress, extraordinary vocal technique and a sincere musician: all the product of determination and generous professional commitment to the art she honors.
I personally found it very moving to see the response of the public to two of the reviewers in particular, the music fan from Arlingon and lesismore from Chicago. What a service their reviews are to the over 100 people plus who responded to their words of praise.
Sills had the enormous capacity and giftedness to bring to her level or very close the singers involved with her on these recordings. Verrett, Farrell, and Stewart make these discs along with the heroine immortal. Lets not forget Plishka who rarely gets his due. The conductors just add more glory to this wonderful music. These performances are thrilling, involving and leave the listener exhausted with joy and gratitude. The packaging of these recordings dojustice to everyone involved in this magnificent project of bringing Sills back to those who remember her and to those who are to be thrilled for the first time. IF these recordings are not in your collection, please make room on your shelves for events of great music making
She is one of the very few great artists who truly is that and more. Superb singer, extraordinary actress, extraordinary vocal technique and a sincere musician: all the product of determination and generous professional commitment to the art she honors.
I personally found it very moving to see the response of the public to two of the reviewers in particular, the music fan from Arlingon and lesismore from Chicago. What a service their reviews are to the over 100 people plus who responded to their words of praise.
Sills had the enormous capacity and giftedness to bring to her level or very close the singers involved with her on these recordings. Verrett, Farrell, and Stewart make these discs along with the heroine immortal. Lets not forget Plishka who rarely gets his due. The conductors just add more glory to this wonderful music. These performances are thrilling, involving and leave the listener exhausted with joy and gratitude. The packaging of these recordings dojustice to everyone involved in this magnificent project of bringing Sills back to those who remember her and to those who are to be thrilled for the first time. IF these recordings are not in your collection, please make room on your shelves for events of great music making
It takes performers of rare talent to
make Donizetti "work."
This is presumably why we are so rarely offered Donizetti in the opera house.
When it does work, it's the very essence of Italian opera and sheer pleasure from beginning to end.
It often seems to me, in the pages of Amazon, that five-star ratings are too easily given. In this case, the ratings (so far unanimous) are fully deserved. Fortunately these boxes will soon be on sale in France (unaccountably, significantly cheaper than in the US) where they may help bring Beverly Sills the reputation she, too, deserves. A must-buy for anyone interested in Italian opera.
This is presumably why we are so rarely offered Donizetti in the opera house.
When it does work, it's the very essence of Italian opera and sheer pleasure from beginning to end.
It often seems to me, in the pages of Amazon, that five-star ratings are too easily given. In this case, the ratings (so far unanimous) are fully deserved. Fortunately these boxes will soon be on sale in France (unaccountably, significantly cheaper than in the US) where they may help bring Beverly Sills the reputation she, too, deserves. A must-buy for anyone interested in Italian opera.
I love british history, italian opera and Beverly Sills.
That the three should be united into one is to me pure bliss.
This box of Donizetti's Tudor Queens was long overdue in being
issued on CDs.
I know well that ideally a bigger darker voice
than Sills is required for these operas especially Roberto De-
vereux but through her superb technique, impeccable musician-
ship and abundant dramatic intelligence she brings these three
queens back to life - she is quite simply riveting from start
to end. All operas are very strongly cast with such singers as
Eileen Farrell, Shirley Verrett, Stuart Burrows, Paul Plishka.
Beautifully remarstered - a very welcome release.
I had never heard a Sills
performance, so when I saw this set I was curious. Up to this point, the only
"singing actress" I have really been taken with is Callas. I had also heard
through others that these Sills recordings were legendary and had long been
eagerly awaited. I was a little cautious, so I bought only one of the operas to
begin with..."Roberto Devereux". I was floored with the dramatic intensity of
Sills, the supporting cast, and the overall sound quality. I tried another
experiment. I bought the recent release of Gruberova's "Maria Stuarda" and
listened to it. I was unmoved by what I heard. That same dramatic intensity was
just not there, and I depend on the drama of the performances to pull me into
listening to an opera since it seems like just "white noise" to me without it. I
then went and bought the Sills' "Maria Stuarda", and again I was overwhelmed. I
rushed out and bought the Sills' "Anna Bolena". I should have just bought this
marvelous set from the start!!! I would recommend that you do as well!
Sills can Act,
Ms. Sills deserves 5 stars for the
way she flings "Figlia impura di Bolena" at Queen Elizabeth in Maria Stuarda.
Dangerously high chest voice, choked with emotion, full of indignation- just
wonderful. Too bad that her conductors aren't worthy of her- especially in
Stuarda: tempi that are fatally slow and bereft of rhythmic vitality. They suck
the propulsive drama out of the scene (you may not like Joan Sutherland, but
Bonynge is NEVER guilty of this). Also- I think that Ms. Sills gives her high
notes away too easily: they are consistently beautiful, but by the time you've
heard the high D that many times in a scene, it doesn't cap the end as
effectively as if the last note were the first high D. Still- if she has to give
something away- lucky us that is a bunch of gorgeous high notes.
I can see why she thinks that these roles shortened her career. She must have been conscious of that danger when she was recording them, figuring that if she was going to shave a few years off her longevity that she might as well go for it. Her commitment is absolute, and not a single note of even the most pedantic recitative is tossed out thoughtlessly. Her Elizabeth is just amazing, practically Shakespearean. She fearlessly brings out the most unsympathetic aspects of the character, and why should she be afraid? Her voice is so intrinsically beautiful that it's impossible not to be sympathetic. Listening to Ms. Sills' voice, I can almost see her face, contorted with rage, thinking what kind of madman is the tenor to trifle with her that way?
I can see why she thinks that these roles shortened her career. She must have been conscious of that danger when she was recording them, figuring that if she was going to shave a few years off her longevity that she might as well go for it. Her commitment is absolute, and not a single note of even the most pedantic recitative is tossed out thoughtlessly. Her Elizabeth is just amazing, practically Shakespearean. She fearlessly brings out the most unsympathetic aspects of the character, and why should she be afraid? Her voice is so intrinsically beautiful that it's impossible not to be sympathetic. Listening to Ms. Sills' voice, I can almost see her face, contorted with rage, thinking what kind of madman is the tenor to trifle with her that way?
Happily, no one told Ms. Sills that bel canto is just about pretty singing.
Even more impressive is the fact that listening to all 3 operas in a row, there
is no impression of a star singer playing herself in 3 different parts. With
some singers, you think, why did I buy more than one opera? Play the first piece
again and you've got the second piece, so unvarying is her performance. No so
with Sills. You need all 3 to get the full scope of her ability (and you might
want to throw in her hot mama Cleopatra). This set is truly a worthy
inevestment.
Tie up the purists and let the party begin - Bubbles is back in town!
Many opera lovers have probably had the same experience.
Some have been waiting for these recordings to be re-released since 1985.
When the box arrived, with the original artwork intact, it was like inviting an old friend back into my house. As so often happens with old friends, however, I soon discovered that we have grown slightly apart over the years.
Very few people will dispute that these three operas, in these particular recordings, represent milestones in the history of bel canto recording. Sills's assumption of these roles must have caused a sensation at the time.
Many people would have been familiar with "Anna Bolena" and some with "Maria Stuarda", but "Roberto Devereaux" was presumably a rare find.
The only possible hurdle standing in the way of sensational success still lies in whether or not you like Beverly Sills.
I know of no other prima donna who has divided opinion to such an extent, except for Callas. Listening to the recordings again my own adoration is confirmed: although the voice is not to everybody's taste and she sometimes does make some seriously ugly sounds, her commitment to the music and the drama is such that one is almost involuntarily won over by her. Dramatically she is as convincing as Anna and Maria as she is as Elizabeth, although the latter role definitely causes her to pull out all the proverbial stops. Her famous (or infamous) use of coloratura sometimes make the vocal lines unrecognisable from the written page, but oh brother, is it thrilling!
Many opera lovers have probably had the same experience.
Some have been waiting for these recordings to be re-released since 1985.
When the box arrived, with the original artwork intact, it was like inviting an old friend back into my house. As so often happens with old friends, however, I soon discovered that we have grown slightly apart over the years.
Very few people will dispute that these three operas, in these particular recordings, represent milestones in the history of bel canto recording. Sills's assumption of these roles must have caused a sensation at the time.
Many people would have been familiar with "Anna Bolena" and some with "Maria Stuarda", but "Roberto Devereaux" was presumably a rare find.
The only possible hurdle standing in the way of sensational success still lies in whether or not you like Beverly Sills.
I know of no other prima donna who has divided opinion to such an extent, except for Callas. Listening to the recordings again my own adoration is confirmed: although the voice is not to everybody's taste and she sometimes does make some seriously ugly sounds, her commitment to the music and the drama is such that one is almost involuntarily won over by her. Dramatically she is as convincing as Anna and Maria as she is as Elizabeth, although the latter role definitely causes her to pull out all the proverbial stops. Her famous (or infamous) use of coloratura sometimes make the vocal lines unrecognisable from the written page, but oh brother, is it thrilling!
What I personally find particularly important about this release, is that a
"new" generation of opera lovers will hopefully be able to experience this great
artist at her very best. As much artistic merit as her late recordings for EMI
might have, the "imperfections" in the voice are mercilessly amplified and, I am
sure, have caused many people to lose interest in her. Imagine, for example,
what people might think of Callas if only her recordings from 1965 and later
were available.
It is very tempting to devote an entire review to Sills, but she does
receive some great support from her supporting casts. Many people have
highlighted Shirley Verrett's arresting Jane Seymour in "Anna Bolena", but
throughout there is hardly a flaw to be pointed out. Even more astonishing,
perhaps, is the remastered sound. Personally I have to keep reminding myself
that I am not sitting in an opera house, listening to these operas in
performance. The balance of the orchestra has been brought forward just enough
to give that illusion. Although this sometimes results in the singers being
drowned out, I do not find this a bad thing at all. The big ensembles have a
very realistic feel because of it. Although there are still some editing
glitches, the sound overall is really superb.
Where, then, do I feel that my old friend and I have parted ways? Fifteen
years is a long time in any music lover's life and experience has taught me a
thing or two. There are times when I find that the style of singing has dated
more than it should have. One example is Verrett's plunges into the growling
chest register: these days singers tend not to overuse that technique so much.
One inevitably has to compare these recordings to those done by Edita Gruberova,
the current great exponent of these roles and, as much of a Sills fan as I am,
Gruberova does bring a subtlety to her characterizations not always is evidence
with Sills. She can be more regal, sometimes more vulnerable, whereas Sills
tends to continually hover on the edge of hysteria.
Having said that, I would not live without these recordings for love nor
money. No true lover of bel canto should. It is rip-roaring, giddy-making magic
from start to finish and one thing is for sure: nobody, before or since, has
sung the "Stuarda" final scene as effectively.
The long awaited release of the Sills
Tudor Trilogy has arrived.
What a happy and wonderful early holiday season gift from DGG. Sills is at her best, the remastered set sounds far superior to the originals. A terrific experience it has been to be able to hear these sets again with such a wonderful supporting cast.
If there is any set to give for the holidays or to buy for yourself, definitely add this wonderful box set to your collection especially if you're not familiar with this great American singer's work.
What a happy and wonderful early holiday season gift from DGG. Sills is at her best, the remastered set sounds far superior to the originals. A terrific experience it has been to be able to hear these sets again with such a wonderful supporting cast.
If there is any set to give for the holidays or to buy for yourself, definitely add this wonderful box set to your collection especially if you're not familiar with this great American singer's work.
The packaging uses the original designs for the album and librettos.
I can add little to what lesismore26 wrote beyond seconding that opinion.
All lovers of opera and bel canto should be rejoicing and dancing in the streets that these three recordings have at last been issued in worthy versions on CD.
"Anna Bolena" was available as a special import for a while, but it included no libretto and was technically lacking the quality of the new DG release. The DG release includes the excellent, even superb, notes written for the original releases by William Ashbrook (the only thing better is the more detailed discussions found in his book on the Donizetti operas). Ashbrook also did the line-by-line translations that are included. There are minor bumps and burbles in each recording, but the over-all achievement will not likely be bettered in the lifetime of anyone contemporary with this comment. If you don't know bel canto opera as something more than pretty, canary-like pipings, get thee to the order icon and buy this set. Then set aside separate days to listen to each of the operas with care, surrendering yourself to the drama and emotion that pour out of your loudspeakers. When they were produced on stage by the New York City Opera with Sills in these same roles, they were the hottest ticket in town. Although a year late, the release is a suitable salute to a great singing actress at her 70th birthday! The only thing left is to wish that the company holding the rights to her recording of "Lucia di Lammermoor" (with Bergonzi!) gets busy and releases that on CD promptly. It's the only recording that follows Donizetti's original intention and uses a glass harmonica to accompany the Mad Scene. Donizetti himself had to compromise on a flute because he couldn't find anyone to play the glass harmonica, but the recording shows that he knew what he was doing: the sound of that instrument conveys you instantly into a deranged mind. Sills's characterization is superb. Her Lucia is clearly in a fragile mental state from her first appearance, and that makes her final mental collapse that much more believable, rather than treating it as a sudden snap of the faculties, as is usually the case. So: three rousing cheers for the Three Queens! and Give us more Sills!!
All lovers of opera and bel canto should be rejoicing and dancing in the streets that these three recordings have at last been issued in worthy versions on CD.
"Anna Bolena" was available as a special import for a while, but it included no libretto and was technically lacking the quality of the new DG release. The DG release includes the excellent, even superb, notes written for the original releases by William Ashbrook (the only thing better is the more detailed discussions found in his book on the Donizetti operas). Ashbrook also did the line-by-line translations that are included. There are minor bumps and burbles in each recording, but the over-all achievement will not likely be bettered in the lifetime of anyone contemporary with this comment. If you don't know bel canto opera as something more than pretty, canary-like pipings, get thee to the order icon and buy this set. Then set aside separate days to listen to each of the operas with care, surrendering yourself to the drama and emotion that pour out of your loudspeakers. When they were produced on stage by the New York City Opera with Sills in these same roles, they were the hottest ticket in town. Although a year late, the release is a suitable salute to a great singing actress at her 70th birthday! The only thing left is to wish that the company holding the rights to her recording of "Lucia di Lammermoor" (with Bergonzi!) gets busy and releases that on CD promptly. It's the only recording that follows Donizetti's original intention and uses a glass harmonica to accompany the Mad Scene. Donizetti himself had to compromise on a flute because he couldn't find anyone to play the glass harmonica, but the recording shows that he knew what he was doing: the sound of that instrument conveys you instantly into a deranged mind. Sills's characterization is superb. Her Lucia is clearly in a fragile mental state from her first appearance, and that makes her final mental collapse that much more believable, rather than treating it as a sudden snap of the faculties, as is usually the case. So: three rousing cheers for the Three Queens! and Give us more Sills!!
A
MONUMENTAL REISSUE.
Many operaphiles have
been awaiting the release of these three Donizetti operas since the advent of CD
(many of us despaired that they might never be reissued at all!), and it has
been a long time coming. Bravo to Deutsche Gramophone for doing what EMI should
have done at least a decade ago.
The Donizetti "three queens" operas themselves are among the cornerstones of the Italian bel canto period of opera ------------
"Roberto Devereux", which deals with the love affair and conflict between Queen Elizabeth I and the Earl of Essex,
"Maria Stuarda", which gives a fictional account of the conflict and confrontation between Queen Elizabeth I and Mary, Queen of Scots, and finally,
"Anna Bolena", which tells of the events leading up to the execution of Anne Boleyn at the hands of husband King Henry VIII.
All three operas are loaded with bel canto melody, and they burst with showstopping cadenzas, roulades, as well as rousing finales.
All three operas demand a prima donna with sufficient dramatic and vocal virtuosity to command the roles of Queen Elizabeth I (in "Roberto Devereux"), as well as the title roles in "Maria Stuarda" and "Anna Bolena".
While all three of these operas were revived from time to time over the last forty years with notable divas such as Leyla Gencer, Maria Callas, Joan Sutherland, Montserrat Caballe, and most recently, Edita Gruberova, none of them made the speciality of these operas that Beverly Sills did in the years between 1970 and 1975. Arguably, it is for her work in these three operas that Beverly Sills will be remembered, and it was in the New York City productions of these three operas that Beverly Sills made her mark in several cities in the United States ----- in performances that are still being talked about. The three Donizetti queens were a vocal stretch for Sills, whose voice was not as large or dramatic as these roles really require, but by virtue of her sheer willpower, dramatic concentration, and keen musicianship, she was able to create three completely believable and compelling characterizations that all but jump out of the speakers and into your listening room. That Sills was forcing her voice far beyond its limits (she herself admitted that her assumption of these roles shortened her career by many years) lends tremendous tension and excitement to her work here (her singing of the three final scenes of all three operas graphically illustrate this point), and the final impression in all three operas is one of a great operatic artist at the virtual peak of her vocal and interpretative powers.
All three operas have outstanding supporting casts, and all three are exceptionally well performed. Three standouts: Shirley Verrett's Jane Seymour in "Anna Bolena" (Verrett is in spectacular voice here -- the greatest singing, I belive, that she has ever preserved on any recording), and Eileen Farell's Queen Elizabeth I in "Maria Stuarda" ------ they are not merely supporting Sills, but are meeting her on her own ground --- and each of them alongside of Sills provide duels to the death!
Tenor Stuard Burrows appears as both Lord Percy in "Anna Bolena" and as Leicester in "Maria Stuarda", and he sings beautifully in both operas. Conductors Charles Mackerras (in "Roberto Devereux"), Aldo Ceccato (in "Maria Stuarda") and Julius Rudel (in "Anna Bolena" all know what to do with this wonderful music, and they provide a wonderful framework for each of the three operas. All three operas are packaged tastefully (complete with the original artwork that appeared when these operas made their first appearance on LP) in a beautiful box which also contains a book with pictures of Sills preparing for "Roberto Devereux" at the New York City Opera. Bravo again to DGG for making these spectacular operas available on CD ----- and to Beverly Sills for providing us with what I feel to be her greatest work. This fabulous Donizetti triology belongs in every opera library and it has my most enthusiastic recommendation.
The Donizetti "three queens" operas themselves are among the cornerstones of the Italian bel canto period of opera ------------
"Roberto Devereux", which deals with the love affair and conflict between Queen Elizabeth I and the Earl of Essex,
"Maria Stuarda", which gives a fictional account of the conflict and confrontation between Queen Elizabeth I and Mary, Queen of Scots, and finally,
"Anna Bolena", which tells of the events leading up to the execution of Anne Boleyn at the hands of husband King Henry VIII.
All three operas are loaded with bel canto melody, and they burst with showstopping cadenzas, roulades, as well as rousing finales.
All three operas demand a prima donna with sufficient dramatic and vocal virtuosity to command the roles of Queen Elizabeth I (in "Roberto Devereux"), as well as the title roles in "Maria Stuarda" and "Anna Bolena".
While all three of these operas were revived from time to time over the last forty years with notable divas such as Leyla Gencer, Maria Callas, Joan Sutherland, Montserrat Caballe, and most recently, Edita Gruberova, none of them made the speciality of these operas that Beverly Sills did in the years between 1970 and 1975. Arguably, it is for her work in these three operas that Beverly Sills will be remembered, and it was in the New York City productions of these three operas that Beverly Sills made her mark in several cities in the United States ----- in performances that are still being talked about. The three Donizetti queens were a vocal stretch for Sills, whose voice was not as large or dramatic as these roles really require, but by virtue of her sheer willpower, dramatic concentration, and keen musicianship, she was able to create three completely believable and compelling characterizations that all but jump out of the speakers and into your listening room. That Sills was forcing her voice far beyond its limits (she herself admitted that her assumption of these roles shortened her career by many years) lends tremendous tension and excitement to her work here (her singing of the three final scenes of all three operas graphically illustrate this point), and the final impression in all three operas is one of a great operatic artist at the virtual peak of her vocal and interpretative powers.
All three operas have outstanding supporting casts, and all three are exceptionally well performed. Three standouts: Shirley Verrett's Jane Seymour in "Anna Bolena" (Verrett is in spectacular voice here -- the greatest singing, I belive, that she has ever preserved on any recording), and Eileen Farell's Queen Elizabeth I in "Maria Stuarda" ------ they are not merely supporting Sills, but are meeting her on her own ground --- and each of them alongside of Sills provide duels to the death!
Tenor Stuard Burrows appears as both Lord Percy in "Anna Bolena" and as Leicester in "Maria Stuarda", and he sings beautifully in both operas. Conductors Charles Mackerras (in "Roberto Devereux"), Aldo Ceccato (in "Maria Stuarda") and Julius Rudel (in "Anna Bolena" all know what to do with this wonderful music, and they provide a wonderful framework for each of the three operas. All three operas are packaged tastefully (complete with the original artwork that appeared when these operas made their first appearance on LP) in a beautiful box which also contains a book with pictures of Sills preparing for "Roberto Devereux" at the New York City Opera. Bravo again to DGG for making these spectacular operas available on CD ----- and to Beverly Sills for providing us with what I feel to be her greatest work. This fabulous Donizetti triology belongs in every opera library and it has my most enthusiastic recommendation.
No comments:
Post a Comment