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Dallas Morning News, TX
Jan 24 2009
Opera Review: 'Roberto Devereux' has fabulous singing but falls short
of perfection
09:40 AM CST on Saturday, January 24, 2009
By SCOTT CANTRELL / The Dallas Morning News classical music critic
The Dallas Opera has been all over international opera news lately,
with George Steel's departure after less than four months as general
director to run New York City Opera. Steel was nowhere to be seen
Friday night at Fair Park Music Hall, but Roberto Devereux opened just
fine without him.
Well, it did and it didn't.
Donizetti's 1837 musical depiction of Queen Elizabeth I and her
imagined infatuation with Robert Devereux, Earl of Essex, was served
up with some fabulous singing. Music director Graeme Jenkins got taut
and lovingly detailed playing from the orchestra. The chorus, prepared
by Alexander Rom, sounded fabulous from pianissimo to fortissimo.
But, musically, opening night often seemed just under full
voltage. And Stephen Lawless' staging kept accumulating annoyances. If
it doubt, the dramatis personae ' nobles, mind you, even the queen '
kept sitting down, or sliding or crawling, on the floor. And they
seemed in doubt a lot of the time.
The opera may be called Roberto Devereux, but the queen holds court,
and commands the drama. Armenian soprano Hasmik Papian plays her to
the hilt: a proud woman, but prey to fiery passions. And she sings
thrillingly, her big voice alternately blazing, smoldering and licking
around the edges. Only a dry chest voice and occasional loosening of
vibrato compromise the effect.
Given the wiry sound that too often passes for a bel canto tenor,
Stephen Costello's depth of tone and expressive delivery make him an
especially welcome Devereux. And he looks the part of a young courtier
who could turn a queen's head.
Elizabeth Batton sings powerfully, and richly, as Sara, Duchess of
Nottingham, and Devereux' s true love. It's too bad her otherwise
glorious vocalism goes papery on top. David Kempster has the heft of
tone and presence for Sara's husband, but he just misses a certain
nobility. Rounding out the cast are Scott Quinn as Lord Cecil and
Andrew Oakden as Sir Walter Raleigh.
This production recycles designer Benoit Dugardyn's Globe Theater set
used two years ago for another of Donizetti's Tudor operas, Maria
Stuarda. At least those awful creaky drawbridges are gone, but now
rather much is made of stairs.
Setting the Nottinghams' pivotal confrontation on a long stairway is
more distracting than enhancing. And surely chez Nottingham could be
accessorized with something a little more upmarket than a powder-blue
canopied bed and curtain.
Costumes, by Ingeborg Bernerth, are a bit plain-Jane, too, for one of
Europe's greatest courts. Lighting is by Mark McCullough.
Repeats at 2 p.m. Sunday and 7:30 p.m. Wednesday and Jan. 31 at Fair
Park Music Hall. $15 to $199. 214-443-1000, www.dallasopera.org
Jan 24 2009
Opera Review: 'Roberto Devereux' has fabulous singing but falls short
of perfection
09:40 AM CST on Saturday, January 24, 2009
By SCOTT CANTRELL / The Dallas Morning News classical music critic
The Dallas Opera has been all over international opera news lately,
with George Steel's departure after less than four months as general
director to run New York City Opera. Steel was nowhere to be seen
Friday night at Fair Park Music Hall, but Roberto Devereux opened just
fine without him.
Well, it did and it didn't.
Donizetti's 1837 musical depiction of Queen Elizabeth I and her
imagined infatuation with Robert Devereux, Earl of Essex, was served
up with some fabulous singing. Music director Graeme Jenkins got taut
and lovingly detailed playing from the orchestra. The chorus, prepared
by Alexander Rom, sounded fabulous from pianissimo to fortissimo.
But, musically, opening night often seemed just under full
voltage. And Stephen Lawless' staging kept accumulating annoyances. If
it doubt, the dramatis personae ' nobles, mind you, even the queen '
kept sitting down, or sliding or crawling, on the floor. And they
seemed in doubt a lot of the time.
The opera may be called Roberto Devereux, but the queen holds court,
and commands the drama. Armenian soprano Hasmik Papian plays her to
the hilt: a proud woman, but prey to fiery passions. And she sings
thrillingly, her big voice alternately blazing, smoldering and licking
around the edges. Only a dry chest voice and occasional loosening of
vibrato compromise the effect.
Given the wiry sound that too often passes for a bel canto tenor,
Stephen Costello's depth of tone and expressive delivery make him an
especially welcome Devereux. And he looks the part of a young courtier
who could turn a queen's head.
Elizabeth Batton sings powerfully, and richly, as Sara, Duchess of
Nottingham, and Devereux' s true love. It's too bad her otherwise
glorious vocalism goes papery on top. David Kempster has the heft of
tone and presence for Sara's husband, but he just misses a certain
nobility. Rounding out the cast are Scott Quinn as Lord Cecil and
Andrew Oakden as Sir Walter Raleigh.
This production recycles designer Benoit Dugardyn's Globe Theater set
used two years ago for another of Donizetti's Tudor operas, Maria
Stuarda. At least those awful creaky drawbridges are gone, but now
rather much is made of stairs.
Setting the Nottinghams' pivotal confrontation on a long stairway is
more distracting than enhancing. And surely chez Nottingham could be
accessorized with something a little more upmarket than a powder-blue
canopied bed and curtain.
Costumes, by Ingeborg Bernerth, are a bit plain-Jane, too, for one of
Europe's greatest courts. Lighting is by Mark McCullough.
Repeats at 2 p.m. Sunday and 7:30 p.m. Wednesday and Jan. 31 at Fair
Park Music Hall. $15 to $199. 214-443-1000, www.dallasopera.org