Roberto Devereux

Gruberova is wonderful. I can't recommend this more highly. She is emotionally involved in this often neglected opera which in my estimation is Donizetti's best of the three queen series.

Poucos sopranos coloratura cantaram melhor um papel do que Gruberova em "Roberto Devereux". A emoção colocada por ela na ária final (no raro andamento "maestoso") chega a surpreender. As inflexões nas palavras, a respiração, o ritmo, tudo nos transporta para a cena do confronto último da rainha com seus antagonistas. O assassinato de Roberto, condenado por ela própria, dá vazão à sua cólera e indignação contra Sara e seu marido. Performances excelentes também as de Ziegler, Bernardini e Kim. O tenor é bem convincente em sua ária e na stretta "Bagnato il sen di lagrime", retirando deste ouvinte a péssima impressão causada na gravação de Sills-Mackerras, pelo húngaro Robert Ilosfalvy, quando este parecia vomitar as notas altas. No entanto, duas excelentes gravações da rara obra de Donizetti, que contém muitos números valorosos e prazerosos aos ouvidos, no mesmo nível de "Lucrezia Borgia" e "Anna Bolena". Juntamente com esta última e "Maria Stuarda", forma a trilogia inglesa do maestro bergamasco, muito apreciada no Reino Unido: a abertura, inclusive, ricamente orquestrada e bastante melódica, remete a trechos do hino inglês.

Stupendous.

great recording.

A lovely recording, wonderful voices.

Roberto Devereux stands as one of Donizetti's greatest achievements in dramatic opera, the other two being Lucrezia Borgia and Lucia di Lammermoor (in my realm of judgment). Like most lovers of bel canto and Donizetti, I'm led into this foray of musical richness through Lucia; which though a great opera, has been largely overperformed at the expense of his greater operas like Devereux and Borgia. Not venturing to extoll the relative merits of the operas mentioned here, I shall focus my review on this recording of Donizetti's seminal opera.Connoiseurs of Deveruex are quite divided between two incarnations of Elisabetta (Queen Elizabeth I of England) in performing records - one that is identified with a thick lower register and volume in the likes of Beverly Sills and Caballe and a limpid, finer higher coloratura register in the likes of Gruberova. Gruberova is certainly quite unparalleled in her department. While convention and opera stalwarts would have it that Sills' Elisabetta is the 'norm', Gruberova has in her own way and right established her unique interpretation of Elisabetta over the decade. Coupled with an impeccable ease of stagecraft, Gruberova's Elisabetta is high-strung, even neurotic and manic depressive. This is by no means the only interpretation that has come to identify Gruberova's Elisabetta - her 2005 production (where Margaret Thatcher was parodied) unleashed a new take of this multi-faceted monarch - probably the most well-known female monarch in European history.Gruberova is in brilliant form here, and her high notes are full, crisp and clear. While the richness of her lower register has not yet found its full bloom as it did in Devereux 2005 and Borgia 2009, Gruberova excels in the limpid clarity, nimbleness and versatility of her higher register here. Exceptionally classic is the opening aria and cabaletta and of course, the heart-wrenching and sublime 'Vivi Ingrato' and 'Quel Sangue' finale where she holds the final note to its climatic end with majestic aplomb. While the 'money note' was dropped from the end of Act I, it has not seriously impaired the excitement and dramatic drive of this famous scene.While Gruberova is the greatest draw for the recording, the rest of the crew are in no way letdown either. Tenor and bass roles are superbly sung and set the standards for the roles of Roberto (Don Bernardini) and Nottingham (Ettore Kim). Delores Ziegler as Sarah shines in her own right with her fullness of tone and marvellous virtuosity of technique.The support given by Strasbourg Philharmonic under Friedrich Haider is most regal, unaffected (i.e. no whimsical tempi or dynamic swings) and professional, setting a riveting tone right from the beginning in Donizetti's arguably greatest overture. Which opera overture could have more aptly been given the honour of relishing "God Save the Queen" than Devereux? Donizetti's craft is at its most compelling and precise from the start; it is difficult to fathom how it could be composed by a man who had of recent, tragically and practically lost his entire family in swift succession. A shuddering thought that in tandem with the great music, never fail to coax a tear - that in spite of his grieving circumstance, galvanized his creative energies to write sublime music of such life affirming force.P.S. It's quite a pity this excellent recording has not been made more accessible online to the purchasing opera public. It has been reissued with an attractive cover that shows Gruberova as Elisabetta in her 2000/2002 production. Amazon.co.uk stocks the recording and thankfully, ships it in much faster.

This is to me one of the most beautiful, lasting and acting sopranos. Why is she so underrated and unrated?I discovered Gruberova over 20 years ago, after her Konstanze in "Entfuhrung" became available and followed her interpretations ever since. Yes, I know, there is a big difference between Mozart and Donizetti.This recording is an all time favourite. Gruberova's voice has changed over the years to include a brilliantly performed Donizetti(Lucia, Stuarda, Bolena) and Bellini(Norma, Beatrice).I have tried to possess all her complete recordings of opera and have never been disappointed.If you like a variety of interpretations like the brilliant Sills, the live recordings of Caballe and Carreras and Gencer(So underrated!!), the interesting and capturing voice of Theodossiou, then you will like this as well.But Gruberova, to me is one off the supreme voices, hopefully for a few more years, as she is now in her early sixties. But judging from her Lucrezia, best voice and interpretations imaginable!I normally listen to this from the beginning to the end and then replay from "E Sara in questi orribili". Gruberova's interpretation and singing is vivid and dramatic! Her voice is sublime and she is Elisabetta!I have never been sorry for purchasing this recording, along with her Stuarda, Bolena, Lucia, Entfuhrung,Rigoletto, La fille, Traviata etc!!!To be honest, this is also a very big benchmark recording!!

Elisabeth is Donizetti's greatest female character and contains his most vocally difficult music. Here in this recording Edita Gruberova is remarkable. The coloratura is difficult, and the dynamic and vocal range is very fatiguing, but Gruberova's superb technique allows her to sing with a rich crystal clear tone and at maximum force. This is a very good if not great performance. The rest of the cast is also very good, although the best and most difficult music is written for Elisabeth.The title role of Roberto is sung by Don Bernadini whose rich toned voice is very well suited to the role which he sings with passion, and drive. Baritone Ettore Kim sings the role of Lord Nottingham, Sara's husband, to lesser effect but his interpretation is however satisfactory. Sara is sung by Delores Ziegler who uses her sweet and delicate toned voice to great emotional effect.The orchestra plays with vitality and effervescence. The recorded sound is somwhat distant and I had to turn up the volume at several points, especially the orchestral introductions to be ble to distinguish the orchestral sounds.The reference standard recording of this opera is still the Sills recording with Mackerras conducting The Royal Philharmonic Orchestra, originally issued on the Westminster label (ABC Records) and now re-issued in a digitally re-mastered edition by (DG). Sills' interpretation and technical performance is really superb and unmatched by this Gruberova recording; Sills' performance is in another league altogether. Sills still remains the champion of this role. See the reference recording: Roberto Devereux .NO LIBRETTO is included with this performance, there is only an Act by Act Synopsis, which I find deplorable in a full priced edition. The slim booklet contains several major errors on the Cast Listing page, the fault of sloppy proof reading. Roberto Devereux

Perfect!!!

Quel choc que la découverte de cet opéra de la maturité de Donizetti (1837, il a 40 ans) !Le chant du cygne du plus pur bel canto (au même moment, le jeune Verdi prépare sa première partition, Oberto 1839). Les circonstances personnelles épouvantables du compositeur explique sans doute, qu'après Anna Bolena (1830), Lucrezia Borgia (1833), Maria Stuarda (1834), Lucia (1835), Donizetti se soit de nouveau surpassé en composant ce drame à l'intrigue conventionnelle mais universel. La femme vieillissante trahie, le pouvoir, la vengeance...Une partition d'un équilibre dépouillé (pas de grands ensembles) mais d'une richesse et d'une délicatesse musicale inouïe '(seulement comparable à Lucia), dont les différents registres mettent durement à l'épreuve les plus grandes chanteuses. A cet égard, Gruberova est inoubliable, de technique et de souffle, mais surtout d'émotion, de sensibilité, d'expressivité à fleur de peau. On souffre avec elle, au gré de ses éclairs, de ses raucités, de ses cris, de ses diminuendo... D'autres grandes voix, plus belles (Gencer) ont laissé des interprétations brillantes, mais froides. Caballé extraordinaire, comme toujours dans ses notes filées, mais un rien moins incarnée. Deux belles découvertes : la mezzo Ziegler, particulièrement émouvante dans son air du 1er acte (même si ce n'est pas la voix d'une Cossotto), et Bernardini, un très beau ténor, au timbre chaud et éclatant. Le baryton KIM est irréprochable mais moins notable. La direction est parfaite, de nuances et d'élan, tout au service de son quatuor de grands interprètes. Un immense bonheur, et une immense félicitation à l'équipe artistique qui a créé un tel miracle. C'est réellement très rare, même au MET, à la Scala ou à Paris.

Beim Versand der mit Zustand GUT beschriebenen CD fehlte das Textbuch und die CD war in einem völlig desolaten Cover (zerdrückt und total abgegriffen) Sehr enttäuschend!Gruberova selbst ist einfach nur zauberhaft in Roberto Devereux......sie wird uns allen sehr fehlen

Mit dieser Referenzaufnahme zollt Edita Gruberova einem zuvor praktisch in Vergessenheit geratenen Meisterwerk von Donizetti Tribut und präsentiert sich in der Rolle der englischen Königin Elisabetta als unerreichte 'Regina del Bel canto assoluta': Elisabetta ist zweifelsohne eine der - um nicht zu sagen: DIE - Paraderolle der slowakischen Primadonna und technisch wie auch darstellerisch extrem anspruchsvoll. Die CD ist einerseits ein (weiteres) Tondokument, das von der unglaublichen stimmakrobatischen Brillanz und einem enormen musikalisch-künstlerischen Verständnis der Gruberova zeugt; sie offenbart dem Hörer aber gleichzeitig auch Gruberovas darstellerische 'Vollendung' dieser dramatischen Partie der Tudor-Königin in voller Wucht und kommt dabei noch dazu ganz ohne 'Bild' aus. (In visueller Hinsicht sei an dieser Stelle an die entsprechende DVD im Fachhandel verwiesen, die man ebenfalls absolut gesehen haben muss.) Edita zeichnet das packende Schicksal einer beeindruckenden Herrscherin nach, die durch den inneren Konflikt zwischen rationalen Handlungsmaximen und der Stimme ihres eigenen Herzens so lange hin- und hergerissen wird, bis die Tragödie erst auf ihren eigentlichen Höhepunkt zusteuert - und zwar gerade dann, als die Herrscherin verzeiht und den Lauf ihres schmerzhaften persönlichen Schicksals großmütig-tapfer ('Vivi ingrato') und in königlicher Würde ('non sia chi dica in terra: La regina d'Inghilterra ho veduta lagrimar') anzunehmen scheint. Gruberova versetzt sich dabei bei jedem Ton, jedem Seufzer, jedem Atemzug, derart authentisch in die Situation der englischen Königin, dass dem Zuhörer - angesichts der außergewöhnlichen Intensität der Darbietung - fast ein wenig angst und bange wird...Im Rahmen einer erschütternden Schluss-Cabaletta ('Quel sangue versato') muss Elisabetta schließlich erkennen, dass sie letztlich alles, was sie aus Kränkung zunächst siegessicher aufs Spiel gesetzt hat, durch unglückliche Umstände tatsächlich - und unwiederbringlich - verloren hat (als ernüchternde Schlussbilanz bleibt ihre Einsicht: "...non regno, non vivo..."): Als gealterte und gezeichnete Monarchin zieht Elisabetta daher ihre letzte Konsequenz: 'Dell'anglica terra sia Giacomo il re'...Bemerkenswert erscheint im Übrigen, dass diese CD - die auch insgesamt bzw philharmonisch eine gelungene Einspielung darstellt - bereits aus dem Jahr 1994 (!) stammt. Erst vor wenigen Tagen hat die Primadonna der Zeit zum Trotz wieder einmal auf eindrucksvolle Art und Weise 'live' bewiesen, dass es ihre szenische Darstellung der Elisabetta auch heute - 16 (!) Jahre später - noch mit dieser hervorragenden Audio-Produktion aufnehmen kann. Ich kann dazu nur demütig und dankbar anmerken: La regina d'Inghilterra ho veduto lagrimar...