‘Fortunately, the static nature of this staging does not detract from the wonderful melodies and delightful coloratura on display’
After many successes as a set designer, Charles Edwards makes his company directorial debut with this the first new Met production of Bellini’s final masterpiece in almost fifty years, so it’s somewhat ironic that whilst showcasing some virtuous vocal fireworks, the set itself somewhat dampens proceedings.
A Puritan stronghold near Portsmouth is threatened by siege from Royalist troops. Elvira Lisette Oropesa), daughter of the fortress’s commander, Gualtiero (David Pittsinger), has been promised to Ricciardo (Ricardo José Rivera) but she loves Arturo (Lawrence Brownlee), a Royalist, although her uncle, Giorgio (Christian Van Horn) assures her that her father will allow her to marry the man she loves.
When Arturio arrives for the wedding, he discovers that Queen Enrichetta (Eve Gigliotti), widow of the executed King Charles I, is being held prisoner and he resolves to help her escape in disguise. Ricciardo, determined to kill his rival, catches them but lets them get away, knowing that this will ruin Arturio. When Elvira discovers Arturio has apparently left with another woman, she feels betrayed and is overcome by madness.
With Giorgio trying to convince Riccardo to save Arturio as a means of bringing Elvira to her senses, Arturio’s love for her has brought him back to Portsmouth but with a final battle impending, will his conviction towards duty and honour allow his love to the fore and for him and Elvira to finally embrace happiness?
Edwards’ staging is somewhat over looming and dark, and whilst comfortably accommodating the large chorus, who perform impressively throughout under the stewardship of Chorus Director Tilman Michael, it doesn’t really add to the unfolding action. Fortunately, the static nature of this staging does not detract from the wonderful melodies and delightful coloratura on display. Gabrielle Dalton’s costumes reflect the period well but with the only injection of colour coming from the occasional appearance of a Royalist, it feels a somewhat drab affair when combined with the mostly static staging. Tim Mitchell’s lighting effects come into play in the final act, but we could have done with something more illuminating prior to that.
I did like Edwards’ interpretation of Elvira’s artistic bent from the beginning with a clever portrayal of her younger self and that of Arturio (exquisitely brought to life by Taylor Massa and DeAundre Addison respectively) cleverly setting the scene to the opening Sinfonia and making later appearances as a portal into the minds of their older selves coming to terms with their love for each other.
All the cast perform strongly, dealing expertly and fluently with the bel canto challenges that Bellini serves up, and benefitting from strong choreography by Movement Director Tim Claydon. They are aided further by the orchestra led by Maestro Marco Armiliato whose encouragement to them to listen rather than just play allows the vocals to shine very much as Bellini intended.
Rivera is assured as the dejected and rejected Ricciardo desperate for revenge, a performance even more impressive when one discovers that he was a late replacement for the indisposed Artur Ruciński: accomplished with under three hours’ notice, it bodes well for a bright future. With bass-baritone Van Horn in fine voice as the suitably impassioned as the uncle looking out for his niece, his obvious off-stage connection with Rivera transformed an impressive and moving duet with him in Act II.
Brownlee is very much the tenor of the moment as far as bel canto goes and his ability to hit the high notes with ease was again on display here in an emotive and powerful performance, making him very much the perfect accompaniment for Oropesa whose wonderful soprano soars above the challenges of the vocal gymnastics, clearly establishing her as the diva of the day with the bar raised high for those that follow.
Writing to Carlo Peploi, the librettist for I Puritani, Bellini famously noted that through singing, opera must make you weep, shudder, die – this production certainly achieved all of that.
Date: 10th January 2026
Star Rating: FOUR