I Puritani – review

Bellini's last opera is set during the Civil War in a Puritan stronghold where, shortly before their wedding, Elvira – daughter of the fortress's commander – sees her fiance, Arturo, disappear into the distance with another woman. In fact, the sole Royalist supporter in the vicinity has absconded with prisoner Enrichetta – widow of Charles I – to rescue her from execution. In true early-Romantic opera fashion, Elvira loses her reason until Arturo returns intact and with his explanation ready.

This innocent, idealistic plot makes sense on its own terms; but director Stephen Langridge and designer Conor Murphy, taking their cue from the minor factoid that I Puritani was a favourite of Queen Victoria's, have overloaded it with so many references to Victorian theatre and the 19th century's gruesome treatment of women with mental-health issues that the original disappears beneath an avalanche of alienating effects. One could view the result as a send-up of the tired cliches of concept productions; either way, it becomes nearly impossible to relate to Bellini's essential drama of individual lives caught up in a wider political conflict.

To a degree, salvation is at hand in the shape of some impressive singing and especially the conducting of Gianluca Marcianò, who leads the Grange Park company and the English Chamber Orchestra through a clear-eyed yet punchy performance of what is arguably Bellini's richest score. Soprano Clare Rutter rises above all the misogynistic manhandling to deliver a skilled account of Elvira's intricately florid lines. As Arturo, Jésus León offers sweetness of tone and some extraordinary top notes. Baritone Damiano Salerno is brave and bold as Arturo's rival Riccardo, while bass Christophoros Stamboglis ensures that the grand humanity of Elvira's uncle Giorgio comes over. Close your eyes and think English Civil War.