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© Teatro di San Carlo
Roberto Devereux
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July 2025 | ||||||
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Lyric tragedy in three acts
Music by Gaetano Donizetti
Libretto by Salvadore Cammarano, afer the tragedy by Jacques-François Ancelot Elisabeth d’Angleterre
Synopsis
Place: London, England
Time: 1601, during the reign of Queen Elizabeth I
Robert Devereux, 2nd Earl of Essex, favorite of Queen Elisabeth, has been removed from office as Governor of Ireland because, acting on his own initiative, he has agreed to a ceasefire with the rebels. Following an attempted uprising, he is awaiting his trial for high treason in London.
Act 1
Scene 1: The Great Hall at Westminster
Sara, Duchess of Nottingham, is trying in vain to hide her tears from the eyes of the Court, as she reads the sad story of Fair Rosamond, the unfortunate lover of King Henry II of England, and therein recognizes a very similar situation to her own. She is in love with Robert Devereux, her husband's closest friend. The Ladies of the court express concern, but she replies that she is happy, while privately revealing her sadness (All'afflitto è dolce il pianto). Elizabeth enters and states that, at the insistence of Nottingham, she has agreed to see Robert once again, now that he has returned from Ireland accused of treason (Duchessa... Alle fervide preci). The Queen is willing to release him without charges if she can be sure of his continued loyalty. To Sara's gradual dismay, the Queen reveals her love for Robert (L'amor suo mi fe' beata). Cecil enters and announces that Parliament is waiting for an answer from the Queen regarding the charges against Robert, since it considers her too lenient towards him, but she refuses to sign the death warrant proposed by the Royal Council.
Robert enters and, in a conversation overheard by the increasingly distraught Sara, Elizabeth declares her love for him. Now alone together, Elizabeth promises Robert that the ring she once gave him will always be the pledge of his safety should he ever return it to her. The dream of bygone happy days is shattered by an inappropriate comment by Robert, who assumes that Elizabeth knows the secret of his love for Sara. The Queen, increasingly jealous, demands that Robert name the woman he loves. He denies that he loves anyone (Nascondi, frena i palpiti), and then the Queen leaves.
Nottingham, Robert's friend and supporter, enters and the two men discuss Robert's situation and Nottingham's concerns about his wife's behaviour after he has observed her embroidering a blue shawl (Forse in quel cor sensibile, Qui ribelle ognun ti chiama). The two men are interrupted by Cecil demanding that Nottingham attend a meeting of the Peers of the Realm.
Scene 2: Sara's Apartments at Nottingham House
Sara is alone when Robert enters, declaring her to be faithless because she has married Nottingham while he was in Ireland. She defends herself saying that it was the Queen's idea and that she was forced to do her bidding. At the same time, seeing the ring on Robert's finger, she assumes it to be a love token from the Queen, and tells him that they must never see each other again, giving him the blue shawl as a love token. In a final duet (Dacchè tornasti, ahi misera) each declares love for the other and they accept that they must say goodbye. Robert makes plans to escape.
Act 2
The Great Hall at Westminster
The Queen approaches Cecil to find out what has been decided. Cecil declares that the sentence is death. The Queen, asking Raleigh why the whole process took so long, learns that Robert had a shawl in his possession which he resisted giving over. It is handed to her. Nottingham enters and pleads for Robert's life (Non venni mai si mesto), insisting that he is innocent, but the Queen continues to describe how she knows that Robert has been unfaithful and, when he is brought in, confronts him, showing him the scarf. Nottingham sees it as well and recognizes it. Furious, he declares that he will have vengeance; while at the same time, Elizabeth offers Robert his freedom if he reveals the name of her rival. He refuses and she signs the death warrant, announcing that a cannon shot will be heard as the axe falls. Nottingham fumes that the axe is not a suitable punishment.
Act 3
Scene 1: Sara's Apartments
Alone, Sara receives Robert's ring along with a letter from him. In it, he tells her to take the ring to Elizabeth and beg for mercy. Before she can leave, Nottingham arrives and reads the letter (Non sai che un nume vindice). Although she protests her innocence, he prevents her from leaving. They both hear the funeral march for Robert as he is led to the Tower, and Nottingham leaves to exact his revenge on Robert. She faints.
Scene 2: The Tower of London
In his cell, Robert ponders as to why it appears that his ring has not been received by the Queen. But he refuses to betray Sara (Come uno spirto angelico... Bagnato il sen di lagrime), and when Cecil arrives at the door of the cell, it is not to free Robert but to take him to his execution. He is led away.
Scene 3: The Great Hall at Westminster
Elizabeth is mournful about the pending death of her lover and wonders why Sara is not there to give her comfort (Vivi ingrato, a lei d'accanto). Cecil announces that Robert is on his way to the block, and Sara arrives disheveled. She gives Elizabeth the ring along with confessing her guilt at being the Queen's rival. In vain, the Queen tries to stop the execution, but they hear the cannon announcing Robert's death. After Nottingham has arrived, Elizabeth demands to know why he prevented the ring from being brought to her. He replies: "Blood I wanted, and blood I got!" Elizabeth is haunted by the headless corpse of Robert, and longs for her own death, announcing that James VI of Scotland (son of Mary Queen of Scots) will be king. Alone, she kisses Robert's ring.
Program and cast
Sung in Italian with Italian and English surtitles
Rinning time: approx. 2 hours and 40 minutes, with interval
Conductor | Riccardo Frizza
Stage Direction | Jetske Mijnssen
Set Design | Ben Baur
Costumes Design | Klaus Bruns
Lighting Design | Cor van den Brink
Choreographies| Lillian Stillwell
Dramaturgy | Luc Joosten
Cast
Elisabetta | Roberta Mantegna
Sara | Annalisa Stroppa
Roberto Devereux | René Barbera
The Duke of Nottingham | Nicola Alaimo
Lord Cecil | Enrico Casari ♭
Sir Gualtiero Raleigh | Mariano Buccino
A page | Linda Airoldi♮ (16, 22) / Antonia Elide Facciuto♮ (19, 25)
A familiar from Nottingham | Ciro Giordano Orsini ♮
♭ debut at Teatro di San Carlo
♮ Chorus of Teatro di San Carlo
Orchestra and Chorus of Teatro di San Carlo
Chorus Master | Fabrizio Cassi
Coproduction of Teatro di San Carlo, Dutch National Opera, Palau de les Arts Reina Sofia – Valencia
Teatro San Carlo Naples Italy
Teatro di San Carlo Napoli; San Carlo Opera House; Real Teatro di San Carlo Naples.
The Real Teatro di San Carlo (Royal Theatre of Saint Charles), its original name under the Bourbon monarchy but known today as simply the Teatro di San Carlo, is anopera house in Naples, Italy. It is located adjacent to the central Piazza del Plebiscito, and connected to the Royal Palace.
It is one of the oldest continuously active venue for public opera in the world, opening in 1737, only five years after the Manoel Theatre in Malta and decades before both the Milan's La Scala and Venice's La Fenice theatres.
The opera season runs from late January to May, with the ballet season taking place from April to early June. The house once had a seating capacity of 3,285.but nowadays has been reduced to 1414 seats.[3] Given its size, structure and antiquity was the model for the following theatres in Europe.
History of the opera house
Commissioned by the Bourbon King Charles VII of Naples (Carlo VII in Italian), Charles wanted to endow Naples with a new and larger theatre to replace the old, dilapidated, and too-small Teatro San Bartolomeo of 1621, which had served the city well, especially after Scarlatti had moved there in 1682 and had begun to create an important opera centre which existed well into the 1700s.
Thus, the San Carlo was inaugurated on 4 November 1737, the king's name day, with the performance of the opera Domenico Sarro's Achille in Sciro, which was based on the 1736 libretto by Metastasio which had been set to music that year by Antonio Caldara. As was customary, the role of Achilles was played by a woman, Vittoria Tesi, called "Moretta"; the opera also featured soprano Anna Peruzzi, called "the Parrucchierina" and tenor Angelo Amorevoli. Sarro also conducted the orchestra in two ballets as intermezzi, created by Gaetano Grossatesta, with scenes designed by Pietro Righini. The first seasons highlighted the royal preference for dance numbers, and featured among the performers famous castrati.
In the late 18th century, Christoph Willibald Gluck was called to Naples by the impresario Tufarelli to direct his 1852 Clemenza di Tito at the theatre, and Johann Christian Bach in 1761-62 brought two operas, Catone in Utica and Alessandro nell'Indie.
1737: Construction of the Teatro di San Carlo
The new opera house was designed by Giovanni Antonio Medrano, a military architect, and Angelo Carasale, the former director of the San Bartolomeo. The horseshoe-shaped auditorium is the oldest in the world. It was built at a cost of 75,000 ducats. The hall was 28.6 meters long and 22.5 meters wide, with 184 boxes, including those of proscenium, arranged in six orders, plus a royal box capable of accommodating ten people, for a total of 1,379 seats. Including standing room, the theatre could hold over 3,000 people. The fastidious composer and violinist Louis Spohr reviewed the size and acoustic properties of this opera house very thoroughly on 15 February 1817 and concluded that:
there is no better place for ballet and pantomime. Military movements of infantry and cavalry, battles, and storms at sea can be represented here without falling into the ludicrous. But for opera, itself, the house is too large. Although the singers, Signora Isabella Colbran, [Prima Donna of the Teatro San Carlo opera company and Rossini's future wife], and the Signori Nozzari, Benedetti, etc., have very strong voices, only their highest and most stentorian tones could be heard. Any kind of tender utterance was lost.
Much admired for its architecture, its gold decorations, and the sumptuous blue upholstery (blue and gold being the official colours of the Bourbons), the San Carlo was now the biggest opera house in the world.[6] In relation to the power of the existing Bourbon Kingdom of the Two Sicilies, Beauvert notes that the design of the house, with its 184 boxes lacking any curtains was so that "no one could avoid the scrutiny by the sovereign" who had his private access from the Royal Palace.
In 1809 Domenico Barbaia was appointed manager of the royal opera houses in Naples and remained in charge until 1841. He soon established a reputation for innovative and dazzling productions, which attracted both the public and leading singers to the opera house.
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