Lisette Oropesa delivers an astounding performance as Elvira in Bellini's I Puritani at the Royal Opera House, a role that has not been seen at Covent Garden since the early 1990s. The Cuban-American soprano, long recognised for her star potential, has been engaged by both the Met and the Royal Opera for this formidably demanding role, and she does not disappoint.
Exceptional Vocal and Dramatic Performance
Oropesa's coloratura is nothing short of astounding, with a fearless command of the stratospheric register and a remarkable range of colour. Equally impressive is her descent into madness after being apparently jilted on her wedding day, offering a persuasive and moving psychological portrait of a woman undergoing a crisis of self-esteem. Conductor Riccardo Frizza is wonderfully responsive to every inflection of her unfolding line, achieving a fine balance between moments of pathos and the military robustness of the Civil War setting.
Richard Jones's New Production
Richard Jones's new production, designed by Hyemi Shin, gives a cartoonish twist to the strife between the Puritans and Royalists. The shoulder-length curls of the Royalists and bafflingly conspiratorial behaviour evoke Mexican bandits. Nicky Gillibrand's exuberantly century-hopping costumes include whimsical headpieces, with Puritans donning funny helmets reminiscent of comic opera. However, the little grey books waved aloft serve as a neat reminder of fundamentalist bigotry. Adam Silverman's imaginative lighting creates stunning theatrical tableaux, such as Elvira's lover Arturo reprising his minstrel song in a snowfall against a black backdrop, poignantly evoking his heartbroken exile.
Challenging Roles and Cast
The near-impossible technical demands of the role of Arturo are another reason for the work's neglect. Francesco Demuro was impressively secure at the top, sometimes unbelievable, though his tone is undernourished and legato needs work. Andrzej Filończyk's firm Riccardo similarly lacked tonal variety. Ildebrando D'Arcangelo was a powerful Giorgio, and Blaise Malaba an outstanding Gualtiero. The happy conclusion of this tortured drama may be unconvincing for some, but the unexpected ending Jones supplies is not objectionable.
The production runs until 19 July at the Royal Opera House.
