Anna Bolena was Gaetano Donizetti's first international success, the opera where he started to depart from the Rossini canon, finding a musical language of his own. In all sincerity, most of the music still retains a Rossinian character, but the heightened level of drama, particularly evident in the climactic final scene, brings it closer to the ideals of the Romantic era.
The Deutsche Oper Berlin presents David Alden's production of Anna Bolena, which premiered at Zurich Opera two years ago. It has not improved on its transfer to Berlin. Gideon Davey's stage design features an arched backdrop, occasionally covered with wood panelling, which helps the projection of the singers. Alden introduces numerous concepts into his production, perhaps too many, but most of them lack thorough development and explanation. Anna’s motherhood is never explored and is barely mentioned (in the libretto or in the music!), but we have the usual ten-year-old Elizabeth walking around, apparently teleported from the future, as she was two when her mother was executed.
The female chorus is adorned in 1940s costumes, reminiscent of the cast of Call the Midwife. Additionally, the male chorus dons umbrella and bowler hats, potentially serving as a humorous nod or commentary on British culture. Enrico, in full regalia, readies himself for the hunt accompanied by men dressed as dogs, in a scene evocative of a fetishistic play. All these hints are just thrown out there, with no clear unity of purpose. Elfried Roller's lighting proves to be particularly distracting as it casts ominous shadows on the backdrop without conveying any discernible dramatic or aesthetic significance. Similarly, Robi Voigt's videos do not contribute significantly to the overall visual experience.
The titular role poses significant challenges. The extensive amount of music, full with coloratura and dramatic elements, can be daunting for any singer. Moreover, the most demanding part comes at the conclusion, after hours of strenuous effort. Federica Lombardi embodied a noble and dignified Queen, her soprano demonstrating lyricism in melodic passages, intensity in the confrontations with her husband, and brilliance in the duet with Vasilisa Berzhanskaya as Giovanna Seymour. Lombardi delivered a poignant rendition of “Al dolce guidami”, Anna's final dreamlike hallucination before her execution, and approached the finale "Coppia iniqua" with strength and fearlessness. Regrettably, the demands of the evening took their toll, leading to a missed high note in the da capo. Nevertheless, a successful performance.
Berzhanskaya sang Seymour with a deep, bronzed mezzo, featuring agility and brilliance in the high register. Her projection was remarkable, with uniformity across the whole range. In the duet with Lombardi both women were impressive, Berzhanskaya asking for forgiveness with a sobbing note in her voice, Lombardi forgiving the rival with truly regal composure.
René Barbera took on the challenging role of Riccardo Percy, Anna's first love, originally created by the renowned tenor Giovanni Battista Rubini. Despite being announced in poor health at the outset, Barbera persevered and performed the demanding part, making strategic cuts to a few da capos and omitting most of the exceptionally high notes typical for this role. Notably, he began visibly coughing between musical phrases, indicating the difficulty he faced. However, Barbera's solid technique allowed him to navigate the role competently until the conclusion. His projection was impressive, and he exhibited remarkable ease with the high notes that he did include.
Riccardo Fassi portrayed the role of Enrico (Henry VIII), bringing to life a compelling character with his deep, mellow bass. He achieved notable success in embodying a manic and uncontrollable king, consumed by obsession with his new lover Giovanna and resolutely determined to execute his wife. Karis Tucker took on the breeches role of Smeton, the young page in love with Anna. Her mezzo exhibited a more maternal quality rather than a boyish one. Despite this, she delivered an enjoyable performance in her two arias. Sir Hervey, Enrico’s officer, was Chance Jonas-O'Toole, his light, bright tenor showcasing notable projection, his acting perfect for the menacing, sadistic soldier.
Conductor Enrique Mazzola showed a deep understanding of bel canto, leading the Orchester der Deutschen Oper in a careful performance, marked by soft tones, great support of the singers, but still a strict pace, highlighting the dramatic part with emphasis and strength.
