Lisette Oropesa delivers a dazzling performance as Elvira in Bellini's I Puritani at the Royal Opera House, London, in a new production by Richard Jones that marks the first staging of the opera at Covent Garden in nearly 35 years. The production, which runs until 19 July, features conductor Riccardo Frizza in his house debut.
Bellini's Operatic Athletics
Bellini's 1835 opera, set during the English Civil War, demands extreme vocal agility and endurance from its singers, akin to Olympic gymnastics. The high notes, rapid runs, and sustained melodies require elite athleticism. Frizza's conducting brings out the orchestral detail, creating buoyancy and momentum without overpowering the voices.
According to the review, "the orchestral detail that really makes this score shine, and Frizza lays it out superbly." The conductor's approach allows the singers to shine while maintaining a visceral energy from Bellini's pulsing accompaniments.
Jones's Allusive Production
Richard Jones's staging sets the Roundhead-versus-Cavalier conflict in an ambiguous civil war, with costumes and sets that blend English and American imagery. Hyemi Shin's sets feature granite slabs with pointed arch windows that roll across the stage to create Elvira's bedroom or a prison cell. Nicky Gillibrand's costumes dress Cavaliers as straggly-haired cowboys and Roundheads in iron helmets and modern flak jackets.
Video projections by Sasha Balmazi-Owen add playful ribbons of text from important letters. Jones avoids the original happy ending, as Elvira's psychosis cannot be credibly cured by true love. However, the characterization of the Roundhead general Riccardo as thoroughly dishonourable may jar.
Vocal Highlights
Baritone Andrzej Filończyk impresses as Riccardo, wrapping a thuggish character in sustained, velvety vocal lines. Tenor Francesco Demuro as Arturo fields a laser-focused high tenor, though his attempt at the optional high note in the final scene doesn't fully succeed. The standout is Lisette Oropesa, for whom Elvira is becoming a signature role. Her performance is "dazzlingly well sung and consistently dramatically involving," making her the best reason for reviving this tricky opera.
