"I'm sorry I must say this, but I believe among all the Tudor queens, the most difficult role to interpret would be Elizabeth in Roberto Devereux. While Anna Bolena requires dark tones, madness, and coloratura and Maria Stuarda had two prima donnas in it that competed against each other (in the stage and in the plot), Elizabeth in Roberto Devereux is an extremely complex and difficult role that requires a singer with a firmly rooted bel canto training that would allow her to course through its extremely difficult Donizettian phrases with grace and fluidity. It also requires a voice that has drama to it, and some regality as well, something you would rarely find in any soprano. That is, until Beverly Sills touched the role. I have to say that even if I wished her voice had a bit more weight to it, this recording of Roberto Devereux is without a doubt her greatest achievement in the studio. There's not many notes in Beverly's registers that resemble the dark, chesty notes that Callas or Sutherland (sometimes) may have, but then Sills sang Elizabeth like a queen should! Every vocal gesture, every phrase, is magnificently and intelligently sung, and with passion too! Listen to her duets with Robert Devereux in this recording and you will know why her Queen holds a candle to those of Caballe, Gencer, and Miricioiu. She basically read biographies about Elizabeth in order to sing this role to perfection...and what great insight she delivers! Undoubtedly an essential recording!"
A great performance!
D. J. Edwards | Cheshire, CT United States | 03/29/2006
(5 out of 5 stars)
"Sills has always been controversial but I don't know why. Many years ago in 1969 I saw her in a concert in Chicago and it was thrilling. In praising her performance I do not put down any others who performed this demanding role. Dramatically and vocally this performance is one of Sill's masterful demonstrations of the art of inspired acting and singing. The rest of the cast is also very good: Marsee, Alexander and Fredrick's were worthy comrades and I often think that Fredrick's was under-appreciated; and the scenes are effective. if sill's comrades might seem to fall into the background it's Donizetti's fault and not the singer's. Rudel conducts with his usual panache and skill. If this is not one of Donzetti's better works the performers, orchestra and Rudel had no inkling. They play it as a great work. Take this DVD on its terms and enjoy its thrilling performance."
Sills' ultimate achievement
Emma de Soleil | On a holiday In Ibiza, then back to the UK for stu | 06/11/2004
(5 out of 5 stars)
"Recently I saw Edita Gruberova as Elisabetta in "Roberto Devereux" and my mind and ears were screaming for Beverly Sills' assumption of this incredibly difficult role. If you own the video of her performance as Elizabeth you will be as spellbound by the recording. Elizabeth I. is one of the most difficult belcanto roles because it demands a huge middle, incredible fioritura and even chest-notes in abundance. Of course Sills was a lyric coloratura but this woman was so daring, so defiant when it came to risks so that she never faked but sang every note no matter what it might do to her instrument. Every inch a queen, regal, haunting and absolutely sublime. The cabaletta of the first aria, "Se amor ti guida", is one of the most glorious records ever made. And so it goes on and on culminating in the heart-wrenching finale where America's greatest singing actress brings a tormented, loving woman to life as it had rarely been done before. What makes her preferable over divas such as Gruberova or Caballe (Who had the best Roberto, José Carreras)??? Beverly Sills studied a library of books on Queen Elizabeth I. before she tackled the part and if you watch the video you can see it in her every movement. She absolutely reduces the rest of the cast to dummies next to her splendour. This recording is a must for every belcanto fan and certainly preferable over the recordings with Gruberova and Caballe. Another interesting Elizabeth would be Leyla Gencer or Nelly Miriciou. The live-recording with Caballe is a must for its glorious Roberto --> José Carreras. And Caballe is stunning herself but lacks the topnotes and Sills regal presence. Now what are you waiting for? Buy it! ;-)"
Beverly Sills Is Not Miscast: Long Live The Queen
Rachel Garret | Beverly Hills | 04/06/2003
(5 out of 5 stars)
"Despite the negative review next to mine, Beverly Sills is not miscast as Queen Elizabeth I in Donizetti's final opera masterpiece. Beverly proved that a light coloratura voice can become a powerful instrument. Her transition from head to chest voice, her leap from lyric to dramatic tone is unsurpassed. The reviewer mentioned that Montserrat Caballe would have been a preferable Queen Elizabeth I. Montserrat Caballe would look and sing the part well, I agree. But it was Beverly Sills who resurrected the otherwise dead opera, reviving the bel canto tradition and not only that, making it into a dramatic vehicle for the theater. More than any soprano of her time, including Joan Sutherland, Beverly's efforts to bring opera closer to home and more artistic are worthy of praise. Beverly Sills does fit the role. She is transformed in that queenly gown (the costume weighed a lot), and her presence on the stage was electric. On a recording, one cannot expect the same type of enthusiasm from the performers, but they are still great singers in this recording. Robert Ilosfalvy played Robert Devereaux, although originally the Westminster record company wanted Placido Domingo (who had sang the stage performances at the Met and sang at its premiere in the New York City Opera). The orchestration to the score is very noble, full of light and dark textures, appropriate to a drama about romantic love, jealousy, and English court intrigue. Donizetti can never be accused of being a poor quality composer. In fact his music has been compared to Beethoven in some places (such as the prelude before Devereaux' prison scene) and Verdi- the elegant and reflective music before Elizabeth and Devereaux exchange their first words in the opera has been compared to the moment in Aida when the pharaoh crowns Radames in victory. Also, much of the opera has been linked to Bellini's music for Norma.Queen Elizabeth herself is a lot like Bellini's Norma, and their voices, powerful, challenging, flexible, portray a woman in a power position who loves a man who does not return her love, fueling jealousy in her first and later regret and compassion. Queen Elizabeth is a complex figure, and we will never know whether the rumors that she loved Robert Devereaux were true or not. But the opera makes for great historic drama and escape into a time that was considered England's finest days. Beverly Sills is and always will be America's best soprano. Now, in her 70's, she sits as Chairman of the Board at the Met, having long ago sat on the throne as Queen Elizabeth I and as queen of opera. Still not convinced ? Listen to Beverly Sills' great use of lyricism and control of breath in her legato in her love aria "L'amor suo mi fe beata" "His love was my blessing". It is simple, beautiful, elegant and yet powerfully expressive of her tender love. Listen also to the vibrant coloratura and chorus use in "A ritorna qual ti spero " (O, return as I hope) where Sills voice becomes like fireworks. Listen, also to the perfect harmony and intensity in the duet (Un lampo un lampo horribile ! A horrible lightning). Acts 2 and 3 express the Queen's dark side. She has discovered that Devereaux has betrayed her, not on political grounds as her courtiers tell her, but also in affairs of the heart. He has loved another woman while professing his love and devotion to her. In a fit of jealous rage, she condemns Devereaux to death. Listen how dark, sinister the angry queen's lines are in "Un perfido! Un vile! Un mentitore! (a traitor! A villian! A Liar) before she plunges into the threat "Pria d'offender chi nascea del tremendo ottavo Enrico, scender vivo nel sepulcro tu dovevi o traditor! (literally- Before angering she who was born of the terrible Henry 8th, it would have been better had you been buried alive in your tomb!). The queen's wrath comes to a climax when she issues Devereaux's death sentence which a full chorus of her court eagerly support (Va La Morte Sul cop ti pende, go, death hangs over your head).Finally, the Queen's last scenes in Act 3 are her best. She is now feeling guilty and regrets her course of action. She loves Devereaux, after all, and she was blinded by rage and jealousy. She no longer feels she is even worthy of sitting on the throne of England (her aria Vivi Ingrato). This aria is well constructed and at the hands of Sills, beautifully sung. The Queen attempts to stop Devereaux' execution but the means of rescue come to late. Devereaux is killed. She then plummets into her final aria "Quelle Sangre Versato". She mourns Devereaux's death, her mind seems to be deteriorating, she sees his ghost in the palace, she feels resigned from her role as queen, giving the new title to James I, who as history shows, became England's king after Elizabeth's death. Coincidentally, she died very shortly after Robert Devereaux' execution."
High Calibre Opera
Rachel Garret | 09/05/2003
(5 out of 5 stars)
"Italian opera has enchanted audiences for generations. The bel canto operas of the early 19th century combined beautiful singing with great dramatic acting. The most renowned of the bel canto composers has to be Donizetti without a doubt. Donizetti's final operas include "Roberto Devereux". At the time of its composition, Donizetti had lost his wife and children into death. His pure melancholy and suffering were passed on to much of the music for the opera - Duchess Sara's first aria "All' afflito e dolce il pianto" and Queen Elizabeth's first arias "L'amor suo me fe beata" "Un tenero core" and her last arias "Vivi Ingrato" and "Quel Sangre Versato". In addition, much of the melancholy is evident in Roberto Devereux's Prison Scene. Roberto Devereux tells the tragic account of Robert Devereux's execution in 1603, torn from the pages of history. The part about Queen Elizabeth in love with Robert Devereux is purely fictional and apocryphal, but in opera, truth is sacrificed for the sake of sensational drama.Beverly Sills first sang the role in 1969 and she would later perform and record Maria Stuarda and Anna Bolena until 1972. In 2000, her recordings were reissued on cd's in the elaborate Box Set "The Three Queens" which are available on Amazon. Each of the three operas are also sold seperately in individual cd's. Beverly Sill's portrayal of Elizabeth I was her crowning achievement, the greatest moment of her career, earning her lasting fame in the opera world and a cover in Time magazine. Beverly Sills has always been "the people's soprano", enhancing opera enjoyment with skillful dramatic ability (she was like Maria Callas in the acting parts), along with a beautiful voice. She made opera in America accessible to everyone and highly entertaining. As Queen Elizabeth I, she reminded audiences of Bette Davis' interpretation on film in the 1930's "The Private Lives Of Elizabeth and Essex" in which Errol Flynn portrayed Robert Devereux. The singing parts for Queen Elizabeth are extremely challenging and demand acrobatic energy. The voice must be dark and light and highly dramatic. She has been compared to the role of Bellini's Norma. Beverly Sills manages to successfully interpret the role. Her voice had always been a lighter "head" voice but as Queen Elizabeth, Beverly is completelytransformed, making use of her "chest" voice and lower registers with dramatic aplomb. On stage in the New York City Opera back in 1970 the applause did not seem to stop and her standing ovation was well deserved. She truly became Queen Elizabeth. On this recording, we find many highlights. The overture features the British anthem "God Save The Queen" (our "My Country Tis Of Thee") and exceptional arias for Queen Elizabeth like the coloratura showpiece "A ritorno Qual Ti spera", her duet with Robert Devereux "Un lampo Orribile" and her vengeful "Va La Morte Sul copo ti pende" in Act 2. In fact, all of Queen Elizabeth's lines and recitatives in Act 2 are chalk-full of fury and dark tones which Beverly Sills pulls of gloriously, providing us with the picture of a jealous queen who orders the execution of a man who has betrayed her romantically and politically. In the final Act, Robert Devereux's Prison Scene has been hailed as a great moment in opera and compared to Florestan's Prison Scene in Beethoven's opera Fidelio. On this recording, Robert Ilosfalvy's Roberto is majestic, noble and deeply moving. We sense his despair in the Prison scene, and the virtual reality of the moment is enhanced with sounds of his dragging chains and the eerie sound of his prison cell opening up when officials read his death sentence. On a side note, Queen Elizabeth has appeared in operas of the bel canto repertoire before, and Donizetti was not the first in using this historic figure. Giacomo Rossini had used her in a similar opera "Elisabetta Regina De Inglaterra". Other than Beverly Sills, the only other soprano to successfully take on the role of the Queen was Leyla Gencer in World War II time. Interesting to note also is that Leyla Gencer also sang Anna Bolena and Maria Stuarda.This is a great opera, every hardcore opera fan will tell you that. It is the apex of Beverly Sills' career and a terrific drama. Nowadays, productions of this opera are hard to come by, mostly becaue this opera is costly to produce and difficult to gather a worthy cast, especially for a Queen Elizabeth that is yet to surpass Beverly Sills. I believe that will never happen."
Track Listings (14) - Disc #1