Roberto Devereux - Metropolitan Opera, 3/24/2016
Polenzani, Radvanovsky, Garanca, Kwiecien / Benini
This premiere was an event, but not - as Maria Stuarda was (in the best way), a one-woman show. Polenzani, Garanca, and Kwiecien provided the first strong side cast of the trilogy, one that could hold attention even with the queen offstage. But, whether from nerves, indisposition, or something else, Radvanovsky's breath didn't have the effortless full-scale pop that usually rings the house - and the bodies of those listening within - like a bell. She powered through the night, and bore the drama and crowd adulation quite well, but we'll see what this week's performances bring.
David McVicar's staging brings an interesting conceit, perhaps building on his Cav/Pag: courtiers are always watching, whether from the ground (the more public scenes) or from the onstage rafters (the more private). Only at Devereux's final scene, as he expects human intervention that never arrives, are they wholly absent, making for a striking effect one might recall from an proper staging of Manon Lescaut. McVicar, acting as his own set designer, and costume collaborator Moritz Junge (who also worked on Cav/Pag) have made the most handsome of the Tudor productions without departing much from that period.
More on further viewing.