Dallas Opera, January 23, 25, 28, 31

By Dean Cassella

When one thinks of Italian opera, the names Verdi, Puccini, and Rossini usually come to mind.  If we were to add a fourth, this would certainly be Gaetano Donizetti (1797 – 1848).  Temporally speaking, Donizetti falls between Rossini and Verdi, and in many ways his scores come off sounding like a mid-point between the two.  Much of his work was commissioned for the Teatro San Carlo in Naples, and the Neapolitans’ tastes at the time tended toward the tragic opera seria (as opposed to the comic opera buffa tradition that Rossini fans cherish so much).

Roberto Devereux is about the romantic relationship Queen Elizabeth I of England and Robert Devereux, Earl of Essex.  Shakespeare fans are familiar with the particular fascination Italy had in the imaginations of sixteenth-century Englishmen.  Most, however, may be pleasantly surprised to discover that the British Isles occupied a similar place in Italian literature.  One ancient church in Italy even claims to have the sword in the stone of Arthurian legend! 

No doubt the Dallas Opera management, when choosing to produce such works, is aware that Americans are more likely to have some interest in and knowledge of Tudor England.  And it is certainly a treat to see monumental figures such as Sir Walter Raleigh and E.R. herself prancing about the stage.  But this is, after all, Italian opera and one shouldn’t be too surprised to discover that these Englishmen behave in ways that are redolent of romantic Italians: practically every figure the Tudor court appears to be primarily concerned with the status of their romantic relationships— ruling and conquering are mere diversions to while away the time until you can see your paramour once again!

The fabulous sets for this production, done in-house for the Dallas Opera by Benoit Dugardyn, will no doubt have a happy life in other productions around North America.  The set for the royal palace at Westminster subtly evokes the boxes of Shakespeare’s Globe Theatre—with the touch that we the audience are watching the very characters that would have sat in those boxes in real life. 

From the moment I could hear “God Save the Queen” worked into the Overture, I knew that I was in for a treat.  Maestro Graeme Jenkins is using a very full orchestra for this production and the singers have proven up to the task of projecting over the exquisitely bright and up-tempo conducting.  Soprano Hasmik Papian made a commendable performance as Elizabeth I, especially in the 2^nd and 3^rd acts.  According to the program, Papian’s repertoire includes Senta in Wagner’s Die Fliegende Holländer, and I can really see her excelling in that capacity.  The real show stealer, however, was Stephen Costello in the title role.  His voice is full without being overbearing, and he certainly has the tenor’s touch in his stage demeanor. 

Someone to watch out for in the future is Texas’ own Scott Quinn, who hails from Marshall and is the current Dallas Opera Young Artist in Residence.  Quinn sings the role of Lord Cecil, one of Devereux’s numerous detractors.  From his first note he sounded to me like Pavarotti, a true lyric tenor with a sweet, soulful voice.  I was disappointed that his role was comparatively small, and certainly hope that we get to hear more of him in future Dallas and Fort Worth productions. 

Donizetti’s music is very accessible, and this production is a definitely of the “take the kids along” sort.   My wife, whose taste in opera definitely runs in the ‘light’ category, really loved the music and seemed to find the plot very entertaining.  “Why can’t the opera companies do more works like this one?” was her sentiment upon walking to the car after the performance. 

Next up for the Dallas Opera in February: Puccini’s La Boheme (always a treat!)

Editor’s Note: Dallas Opera has provided two clips from the production via YouTube: