A lyric tragedy in three acts by Gaetano Donizetti, libretto by Salvatore Cammarano. Roberto Devereux was composed in the summer of 1837, the year, according to biographers, in which Donizetti seems to have suffered most, having lost his third son and his adored wife Virginia Vasselli. The opera made its debut at the San Carlo Theatre in Naples on October 28th in the same year and was a great success. The rehearsals of the original performance were postponed for a month due to censorship of the decapitation scene of the leading actor. THIS IS A RECORDING OF A REVIVAL STAGED IN THE THEATRE IN WHICH THE WORK HAD ITS PREMIERE.
1.85:1 - Color - Italian - 5.1 Dolby Digital - Sub: English
BUYER REVIEWS:
I now have two Roberto Devereux's on DVD, one with Beverley Sills & this one with Alexandrina Pendatchanska. I raved about the Sills recording; but having seen this one, I am gob-smacked. I thought Sills could act! You haven't seen anything till you see Pendatchanska's Elizabetta. It is so life-like, it's scary. To be perfectly honest, I had never heard of this woman until now. I did not know what I was getting, as I did not know any of the cast, so I was apprehensive when I first played this DVD.
All I can say, I was glad no one could see me when it finished as I was clapping and shouting like a fool. I was in tears & could hardly speak as I was so emotional. Never have I seen such a production like this. The staging, cast, costumes, lighting & Orchestra were much more than I expected. Giuseppe Sabatini's Roberto matched Pendatchanska's Elizabetta to a tee. Roberto Serville & Ildiko Komlosi's Nottingham (Duke) & Sara (Duchess) were a perfectly matched husband & wife team. This is just one of those gems you stumble upon once in a life time. I just love this opera and have many recordings of it on LP, CD & DVD and I just happen to see this one and bought it on speck, not knowing what it would be like & got more than I bargained for. So it is unashamedly that I can strongly recommend this version to you over all the others. I'm not usually pushy in my reviews, but this opera has changed that.
What an exceptional opera recording... I will mention quickly the solid orchestra, a very capable director, magnificent costumes, the beautifully though classically designed set and the efficient stage direction that allows singers to focus on their performance without giving the impression that they are lost on the stage...to focus on the amazing cast of singers.
Pendatchanska is superb in the appropriation of the role. the voice is wonderfully trained over its entire range. What amazes me is the way she colors it to express such violent and diverse emotions all along her performance. She incarnates Elisabeth and her conflicting torments, rage and despair by giving her voice an almost aggressive and edgy color which can even sound even disturbing for some 'over-sensitive' ears while managing to abide by all rules and standards of Bel Canto, by keeping her singing line composed and secure and her vibrato even throughout her vocal range...with truly amazing high notes... This being said, she really uses her instrument at 200% of its capacity...I am therefore wondering if this is a wise approach on a longer term. Let's enjoy the moment...
Giuseppe Sabbatini...God, what an amazing tenor... a beautiful 'light' lyrico-spinto di agilita... I mean by that he has the spinto color and focus, extraordinary projection, stunning high notes, voice flexibility - including outstanding piani/ssimi - matching all demands of the role's high tessitura...who else currently has such an easy, free, ringing full 'chest'-voice high D natural???... His musicianship is simply phenomenal...no flaw in his technique...a very clever and sensitive interpreter... His aria+cabaletta scene in jail is a moment of pure vocal grace.
Hearing his 'Nottingham', I understand why the baryton, Roberto Servile was 'sponsored' by Pavarotti. He is a charming, 'techniquewise' flawless singer of the traditional Italian school of singing with a warm lyrical baryton voice... He does not have a very varied palet of vocal colors to express but he delivers a solid performance. His acting skills - like Pavarotti to some extents :)- are average but sufficient enough here in this context.
Ildiko Komlosi interprets a charming although sometimes unidimensional Sara with her delightful voice. She, like the other interpreters, also has the 'physique' of the role which contributes to the interest of her performance vocally very satisfactory.
I have been a fan of Pendatchanska for a while ever since I heard her sing on a Sony recording of Prince Igor sometime ago. A few years after that recording was released, she did an aria collection on the Capricio (?) lable. I was very impressed with her and wondered what happened to her career.
Nothing and I mean nothing prepared me for her performance as Elizabeth. It truly knocked my socks and shoes off (not to mention other articles of clothing)!
Pendatchanska truly gives the most exciting performance I have ever seen in an opera. I own many DVDs, Laser Discs and videos of opera performances; they all pale to this.
I truly believe that Callas, in her short prime, could not have done this role any better. (By the way, I consider myself a "Callas Orphan".)
If you really want to hear and see an Opera performed in a most exciting manner, buy this disc!