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Alexandra deshorties
Power and elegance … Alexandra Deshorties and Leonardo Capalbo in Roberto Devereux
Power and elegance … Alexandra Deshorties and Leonardo Capalbo in Roberto Devereux

Roberto Devereux – review

This article is more than 10 years old
Millennium Centre, Cardiff
The dramatic tension never lets up in this surreal production of Donizetti, the high point of the WNO's Tudor trilogy

With this thrilling performance of Roberto Devereux – and in spite of the abomination that was Maria StuardaWelsh National Opera vindicates its decision to stage Donizetti's Tudor trilogy. The tale of Queen Elizabeth I's passion for her lover Robert, Earl of Essex, accused of treason and destined for the block, produced bel canto singing to honour composer and company alike, with conductor Daniele Rustioni a galvanising presence in the pit.

Questions over Madeleine Boyd's black, satanic set designs remain, yet the striking impact of her ideas – both surreal and anachronistic – is undeniable. Elizabeth takes her style from Vivienne Westwood: she is swathed at first in blood red, but appears more fearsome still in a black-haired skirt and iron corset. No Virgin Queen she, more vengeful black widow spider. Her court clearly resembles a web of intrigue when Elizabeth sits atop a throne that resembles the giant metal spider of Louise Bourgeois's Maman sculpture.

Alexandra Deshorties made an imperious queen, in full command of her impressive range, metamorphosing credibly into the haggard figure who is diminished by Essex's betrayal, but names James as her successor with defiance intact. The dramatic tension never lets up, with Leah-Marian Jones giving a vivid and beautifully sung portrayal of Sarah, Duchess of Nottingham, the queen's rival for Roberto Devereux's affections, and David Kempster a tour de force as Sarah's husband. In the title role, Leonardo Capalbo had power and elegance to match. The full trilogy goes on tour next week, and this opera makes it all worthwhile.

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