Live from the Met in NY, last night's performance of Donizetti's 1834 opera seria was enough to convert my evening companion not only to the joys of the art of bel canto but also to the quality of US mezzo Joyce DiDonato, who excelled in the title role. Confirmation, if it were needed, that she remains the current coloratura mezzo darling of the Met.
Sir David McVicar's production with set and costume designs by fellow Scot John Macfarlane worked superbly, successfully conveying a suitably period flair yet with a modernistic outlook. Especially powerful was the presence of the scaffold on the stage from the very start, serving variously as a desk, table and platform, before really coming into its own in the final dramatic scene.
The role of Queen Elizabeth was an ideal vehicle for the very promising Met debut of South African soprano Elza van den Heever, who towered over the proceedings, both physically (she must be approaching six feet tall!) and emotionally. Some quality acting from her. Both queens were handsomely supported by Joshua Hopkins as Cecil and Matthew Rose as Talbot, yet the weak link in this production was, to my mind, Matthew Polenzani as Leicester. Despite a well-rounded voice, he lacked the presence to carry off this role when pitched against big beasts like DiDonato and the impressive van den Heever, both of whom displayed great dramatic use of expressive coloratura under the baton of Maurizio Benini. However, there was a sense of imbalance in the production as a result of the decision to turn the opera's three acts into two: this left most of Elizabeth's music in the first half, but left the field clear for a real tour de force for DiDonato in the second, especially in the extended and very moving execution scene. Overall a great production and worth catching up with.
