Customer Reviews

Donizetti - The Three Queens (Anna Bolena / Maria Stuarda / Roberto Devereux)

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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.

Tie up the purists and let the party begin - Bubbles is back in town! Many opera lovers have probably had the same experience: I 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.

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!!

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!

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.

The packaging uses the original designs for the album and librettos.

With their magnificent reissue of the Three Queens and "The Ballad of Baby Doe" 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 committment 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.

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.

I 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.

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.

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.

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.

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.

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.

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.

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.

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.

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! ~operabruin

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.

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.

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.

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.