Customer Reviews

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

5 star:		(13)
4 star:		(6)
3 star:		(3)
2 star:		(1)
1 star:		(0)

 

 

When 20th century operatic history is written, there will be certain interpretations that writers will say stood out and must be counted as the greatest of their time: Callas' NORMA, Sutherland's LUCIA, Nilsson's Brunnhilde and Isolde, and without a doubt Sills' Elizabeth in Roberto Devereux. Fortunately, we are lucky enough to have Miss Sills' interpretation captured on video and now, thanks to VAI remastered beautifully (and conveniently) on DVD. Even though Cleopatra in JULIUS CAESAR brought Miss Sills international superstardom initially, it is the role of Elizabeth with which she will be most identified and which put her on the cover of Time Magazine in 1971 when this production at New York City Opera was new. This performance from Wolf Trap in the summer of 1975 finds Miss Sills in less fresh voice than those early performances, principally because of health problems that beset her in late 1974. But her performance is so powerful that a few hints of strain here and there only seem to reinforce the character's inward emotional battle between love and jealousy for the young Devereux which brings about his execution at the end of the opera. Her performance is a complete bel canto tour de force. Every physical gesture and attitude has been thoughtout, from her somewhat mannish gait to her habit of strumming her fingers on the arm of her throne. It's nice to have subtitles (non-optional I'm afraid) but if one new the basic story, one probably wouldn't need them because of the way Sills telegraphs every emotion with her voice and her body. Sills colleagues, Susanne Marsee and Richard Fredricks give fine performances and John Alexander (also somewhat late in his career) turns in a fine aria at the end of his. (Can someone explain why he does not bow at the end of the opera?) The somewhat sparse but evocative production from NYCO transfers to Wolf Trap pretty well (even though the chorus is obviously a summer fabrication). Costumes, especially Miss Sills' are lavish and extremely colorful. Miss Sills' famous make-up is so well done that one almost forgets one is watching Beverly Sills. The conducting of Julius Rudel is idiomatic and one can tell that he has worked with Sills from the beginning of rehearsals on every rhythmic and interpretive nuance. The recorded sound is nothing to brag about, being somewhat below the standard of what we were to expect from the Met Telecasts which began two years later in 1977. But perhaps the blame may be put on the outdoor summer festival conditions at the time. You are not to buy this DVD for it's state of the art sound or video quality (which by the way is much improved from the VHS tape available for years). Buy it for one thing only: Sills' classic and justifiably lauded performance. We were greatful when it was filmed for television and we should be extremely greatful to VAI for releasing this one of a kind performance on DVD.

Being a great fan of Beverly Sills, I have listened to all of her recordings. She was a brilliant Violetta (Traviata) and a powerful Lucia, but the role of Queen Elizabeth I in Donizetti's ROBERTO DEVEREUX was, in my opinion, her greatest achievement. This live video performance is gripping. Her singing is superb and her acting is inspired. She IS Elizabeth, in all of her glory and her despair. Many have compared her performance to that of the great Bette Davis as Queen Elizabeth and I would agree with that judgement. This is the paramount performance of Sills' illustrious career.

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

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

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

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

In 1975, about four or five years after Beverly Sills first performed the feisty Queen Elizabeth in New York City's Opera, she once again dazzled audiences at the Wolf Trap Festival. Performing with her that night was John Alexander in the tenor role of Robert Devereux, Susan Marsee in the mezzo-dramatic role of the Duchess Sara and Richard Fredricks in the baritone role of Nottingham. Julius Rudel conducts. He is an esteemed and long-time conductor, who has worked with Beverly Sills before in such operas as Anna Bolena, Manon and La Traviata. Julius Rudel has excellent power as a conductor, with thoughtful precision and dynamics that fuel the orchestra to dramatic heights. From 1969-1975 Beverly Sills was busy expanding her originally light lyric repertoire to the dramatic intensity of such operas as Roberto Devereux, Lucrezia Borgia ands Bellini's Norma. Many opera critics note how Beverly's transformation from light "head" voice to the heavy "chest voice" cost her career to be shortened. But Beverly has herself admitted that it was worth it. And this Roberto Devereux performance proves that it was indeed worth it.

Susan Marsee has worked with Beverly Sills before. There are studio recordings of Offenbach's Tales Of Hoffman, one of Beverly's favorite operas, in which Susan Marsee sings the role of Nicklause and the Muse. Susan Marsee is primarily a mezzo soprano but shows signs of soprano lyricism. As the Duchess Sara, the secret rival to Queen Elizabeth - they are both in love with the same man Roberto Devereux, Susan Marsee potrays an anguished and long suffering Elizabethan lady of the court. She has been married out of sheer convenience to Nottingham and her love for Devereux we assume has never been consumated. Susan Marsee's first aria, sung in unison with the chorus of ladies of the court is heavy with sorrow and suffering.

Beverly's first aria, the Queen's "L'amor suo me fe beata" follows the same kind of tender romance, as the Queen is hopeful that Devereux loves her. She is a lot more festive in spirit in the coloratura showcase "A ritorno qual ti spera". When Devereux first makes his apperance, John Alexander kneels before the Queen who makes it quite clear she loves him. Note the slow string section which plays, further enhanced in their duet "Un tenero core". Their relationship, nonetheless, is a rocky one, for the Queen suspects Devereux loves another woman. Although she point-blank asks him if he loves another, he lies to her by saying he does not. The intensity of the fast-paced duet "Un lampo orribile" is very indicative of the tense, dramatic chemistry between Queen Elizabeth and Devereux, which is the real fire in the opera.

I feel sadly that John Alexander is not suited in this performance for the role of Devereux. Originally, Placido Domingo sang the role. He created a standard that most tenors tackle. Domingo has the perfect romantic heroism and the voice. Not that John Alexander does not have "the voice" for Devereux but he simply puts little effort into his performance and his effiminate, Cowardly Lion looks make him inappropriate as Roberto Devereux, who should come off as very masculine but tormented and torn between duty and love. Also the prison scene is very generic and unsatisfying. Baritone Richard Fredricks is also very wooden in this performance and does not provide much of the drama. He is supposed to play a villain. He betrays his best friend Devereux and practically carries out the execution himself once he discovers it is Devereux whom his wife Sara truly loves.

The reason for getting this is Beverly Sill's powerful performance as Queen Elizabeth. In white make-up, heavy Elizabethan regial wardrobe, imperious poses and in her dramatic soprano voice, Beverly became the real Queen Elizabeth in what could pass for an Oscar winning opera performance. She landed a cover in Time magazine in November of 1971. From her facial contortions, raging screams (mostly expressing her fury in Act 2), pointig her finger in accusation at Devereux, slapping Devereux and her grief and torture after learning he has been executed in the final act (at one point even pushing Nottingham after learning that he is most responsible for Devereux' death "Spietato Cor!" "Heartless man!"). This is Beverly Sills at her best, surpassing all the sopranos who have dared to take on the role of the commanding Queen Elizabeth - Leyla Gencer who started the tradition back in World War II days, Montserrat Caballe who sang the Queen in the 60's and Edita Gruberova in the 80's. Even today's sopranos who take up the challenge of performing as the Queen fail to deliver the same power and majesty with which Beverly Sills infused her unrivaled performance.

I certainly agree with other customers that this was a great performance by Sills and I enjoyed the supporting cast as well! The makeup and costumes were unbelievable!! I purchased VHS, found picture and sound excellent. Having a large LD collection; not anxious to invest in DVD just yet. Certainly recommend this to anyone as a good buy - especially if you also like her "3 Queens" CD set. Only just received and watched once but intend to watch it many more times and look forward to sharing it with my opera friends. Gave it 4 stars only in comparison to other operas that I prefer. The quality of the singing, production and recording are just fine! A wonderful remembrance of a truly favorite soprano!! I sometimes forget how really great she was! This video will remind you that she was special and an outstanding singing actress!

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

Beverley Sills would have to be one of the greatest singer/actresses to come out of America in all time. The power and range of voice coupled with her commanding stage presence leaves one spell bound. Having seen her live on stage in San Francisco as Massenet's "Thaïs," in 1976, just one year after this present recording, however, both rolls quite different as chalk and cheese, the flirtatious character of the courtesan Thaïs to the powerful dramatic roll of Queen Elizabeth I, Queen of England; shows us just how great a performer Miss Sills is. Her supporting cast is equally capable of keeping up with her. Susan Marsee as Sara is both striking and in total control of her character and voice (even if the cover shows Richard Fredricks in the roll. I think he had better stick to his original roll as Nottingham, Sara's husband).
Once again I must mention that John Alexander in the title roll of Roberto Devereux, has not been a voice that I admired. I felt it far too thin and his high notes rather strained, but matched against Miss Sills he manages to stand his ground and give a commanding performance. The Duet Roberto has with Sara in Act I, scene 2 "Tutto è silenzio....Dacchè tornasti, ahi misera!....Ah! quest'addio fatale" is beautifully sung and one of my favourite pieces from the opera.
Richard Fredricks as Nottingham, Sara's husband has a powerful voice and stage presence he brings to his character. The rest of the cast are adequate and make this a memorable performance. My only real criticism of the production is that a couple of times the characters go off mike and there was a loss of volume and clarity of voice, but apart from that, this is an opera well worth adding to your collection apart from it's historical state but to see one of America's greatest opera stars at work.

This superb DVD of a live opera performance from New York City is not just specialized only for fans of opera and soprano Beverly Sills (who achieved her greatest success with the role of Queen Elizabeth I, picture in Time Magazine 1971), but for fans of quality drama on DVD. Opera has been downplayed in recent years. The younger generations of the 90's are not acquainted with the magic sound world of opera. It is foreign to them, it is intimidating and the myth and stereotype that opera is elitist and boring prevails. My mission, through a precise and detailed review of this particular opera on DVD, is to share my passion as a vocal coach and music teacher for the noble human art of opera and to get a lot of people into opera who would otherwise turn it aside.

Beverly Sills, the American opera star who was born in Brooklyn and works exclusively in her hometown as chairman of the Met, reached the peak of her career in her portrayal as Queen Elizabeth I, in the otherwise obscure Donizetti opera, Roberto Deveraux. The bel canto opera had powerful drama lurking beneath the text in the libretto. Like so many other bel canto operas, including Donizetti's Lucia Di Lammermoor, it was considered romantic tragedy, fluff, a showcase for dramatic/coloratura soprano with no meaning or substance. But the revivals of Donizetti operas by the singers Maria Callas, Joan Sutherland and Montserrat Caballe (who effectively portrayed Lucrezia Borgia), the otherwise neglected operas were rarely performed. Beverly Sills, in my personal opinion, despite the criticism of being simply a lyric coloratura soprano with signs of weakening vocal stamina in dramatic roles, was a varied, artistic, gifted singer and actress. It was her combination of beautiful singing and effective acting that made her the equal to Maria Callas (I do not treat Maria Callas religiously and only favor some of her performances). Beverly Sills' dramatic portrayal in Roberto Deveraux can be likened to a Shakesperean heroine. She is regial, overbearing, imperious, romantic, jealous, remorseful, melancholic, in that order. The story is quite well known. It was said that Queen Elizabeth loved Robert Deveraux, Earl of Essex, her naval commander and favorite lord of the court. But after his military involvement in Ireland, he returned with accusations of treason against the Queen. In the Donizetti opera, the personal romantic triangle is the true reason, and his execution is spurred on by the Queen's jealousy. The Queen loves Roberto deeply, to distraction, one recalls the 30's Bette Davis film performance in The Private Lives Of Elizabeth and Essex. The Queen might have given him the throne had he not infuriated her. Her love is demonstrated in the lyricism of the aria "Un tenero core" and in the coloratura techniques of her aria "A ritorno qual ti spera", as well as her duet with Roberto, "Un lampo, un lampo orribili". Deveraux does not return the Queen's love, and is instead hopeful he will consumate his love to the Duchess Sara. Act I introduces the love triangle and the romantic side of the Queen. Beverly Sills fires up the audience with her powerful presence- her white-roughed face, her tall and regial character, showcased in her costume, an Elizabethan royal gown that weighed quite a lot, and the slightest movements of her imperious hands.

A direct contrast of the Queen's soft side comes in Act 2. Once hearing Deveraux has betrayed her, it becomes not merely a political thing, but a personal one. Deveraux has lied to her and loves another woman. "Un perfido! Un vile! Un mentitore !" she rages, in scales that resemble Bellini's Norma, also jilted by the man she loved: "A traitor! A villian! A liar!." Beverly Sills voice is dark, dramatic and furious. Further, she explodes in jealous anger "It would have been better that you anger God and descended alive into your grave than anger the daughter of the terrible Henry 8th!." In an ensemble that concludes the act, the Queen and her court sentence Deveraux to death. After declaring the sentence, the Queen shouts "Va!" (Go!") which follows the lines "Va La Morte Til Copo te pende" (Death hangs over your head), a furious, fast paced, exciting conclusion that seems as if Deveraux's fate is completely sealed as if damned to hell.

The final act is brief, but poignant. The Queen attempts to save Deveraux from execution, but through accident caused by Duchess Sara, Deveraux is killed. The Queen is beyond herself with remorse and grief. Mourning his death, she no longer feels she is the queen of England (Vivi Ingrato) and concludes the opera with a deep sadness and proclamation that James I will be the future king (Quel Sangre Versato). This ultimate opera is finally on DVD. Finally a chance for audiences to watch Beverly Sills in her greatest role, in live performance.

Beverly Sills is the queen of opera. There is no other soprano in the twentieth century other than Maria Callas who could master a variety of roles with vocal beauty and great dramatic performance. Her career was short lived, after singing operetta and a utility singer in her home town of New York she had two children with impediments that she raised and later a cancer operation. She had enormous versatility on the stage; singing first Cleopatra in Handel's Julius Caesar, Violetta from La Traviata a reported 54 times, Manon, the three heroines from Offenbach's Tales of Hoffman, the three Donizetti Queens including Anna Bolena and Maria Stuarda, Lucia Di Lammermoor, Norma and several others. If you are familiar with the three reissued recordings of the Tudor Queens trilogy by Donizetti, you are also aware that Sill's performance as Queen Elizabeth was her crowning achievement. This DVD is a jewel to watch and a pleasure to hear. Opera lovers and fans of Beverly Sills will enjoy as we watch her fiery performance. Queen Elizabeth becomes jealous when Deveraux, the man she loves and her naval commander, takes an interest in another lady of her court. She orders his execution on grounds of treason but only we know her decision was far more personal. This performance earned Beverly Sills a cover on Time magazine, she was hailed worldwide for her vocal mastership and she is still loved and talked about even to this day. Presently she is the chairman at the Met in New York and has discovered many great opera singers performing in our time. See for yourself the great passion that Donizetti was full of when he composed this magnificent opera. Five Stars. Long live the Queen of Opera!