Anna Bolena
(l-r) Bruce Sledge (Riccardo Percy) (kneeling), Christian Van Horn (Enrico VIII), Thomas Goerz (Lord Rocheford, behind chair) and Sondra Radvanovsky in the title role of Canadian Opera Company’s Anna Bolena. Photo: Michael Cooper

There are operas whose musical and dramatic brilliance does not show signs of ever running out, hundreds of years into their production history. Then there are operas which make you wonder if the art form is deader than a museum piece. If you plan your opera going carefully, you can avoid the latter kind for a long time, but if you’re in Toronto this spring, your luck has run out: the Canadian Opera Company is closing its 17/18 season with Donizetti’s Anna Bolena (seen Apr. 28).

Anna Bolena saddled with weak libretto

The piece is burdened by a combination of factors. Felice Romani’s libretto is about a very specific episode (break-up of marriage No. 2, beginning of marriage No. 3) in the life of a very specific monarch (Henry VIII), and does not leave much room for directorial reinvention. It is, of course, historically inaccurate: Donizetti’s Bolena gets repudiated by Henry because of the nonsensical melodramatic intrigue involving her former betrothed and an adoring page (she is essentially guilty of impurity for knowing both men). Henry is also leaving her because he prefers another woman, not because Boleyn couldn’t produce a male heir—an historical fact around which a much better opera might have been created. And while there are several scenes of conflict that have some potential, the endless supply of bel canto melody slows everything down instead of aiding the drama.

Anna Bolena
Sondra Radvanovsky (Anna Bolena, centre) with Christian Van Horn (Enrico VIII) and Keri Alkema (Giovanna Seymour, above banner) in Canadian Opera Company’s Anna Bolena. Photo: Michael Cooper

But certain star sopranos insist on singing this role, so there are numerous recordings available (Callas, Caballé, Scotto, Netrebko) and productions are still being mounted in opera houses that want to engage these singers.

Interactions lack dramatic credibility

Director Stephen Lawless seems to have given up on the task of creating a piece of compelling theatre from the get-go. The set is made out of gigantic walls of wood panelling placed under a two-level balcony, a nod to the Globe Theatre. The panels are rearranged at various points to become corridors, bedrooms, and public rooms. If the personal dynamics between the characters had been worked out with some degree of credibility, this huis clos set-up might actually have been suitable. There was very little acting happening on the opening night, however. By and large, the characters sing facing the audience, not each other, and there is no real emotion among any of the pairs. There is no chemistry between Enrico (Christian Van Horn) and Giovanna Seymour (Keri Alkema) where it’s supposed to be overflowing, and only stock operatic emotion between Percy (Bruce Sledge) and Anna (Sondra Radvanovsky). A rushed, attempted rape—so inept as to be unintentionally comic—is added to the scene of Percy’s private visit to Anna’s bedchamber where she reasserts her virtue.

One of the two men besotted with Anna, Smeton (Allyson McHardy), is portrayed here not as a credibly handsome young man, but as a kid in shorts who at the start plays with Anna and Enrico’s daughter, Princess Elizabeth. This inserts a huge age difference between Smeton and Anna, making his erotic obsession and the scene of his visit to her empty bed particularly odd.

Keri Alkema’s vocalism a highlight in Anna Bolena

Keri Alkema, (Giovanna Seymour) is not the nimblest of stage actors (the elaborate skirts didn’t help) and her Italian was very approximate in the early scenes—but she was more and more convincing as the opera progressed and powerful in her last scene with Enrico, when she is finally allowed ascension to the throne. The vocal line sounded almost effortless, sculpted smoothly and precisely, and the acting became more involved.

Anna Bolena
Keri Alkema (Giovanna Seymour) and Sondra Radvanovsky in the title role of Canadian Opera Company’s Anna Bolena. Photo: Michael Cooper

What ought to have been the most dramatic scene of the opera, the confrontation between Giovanna and Anna, did not exactly enthrall. There was some awkward stage movement on both sides but the two women did have moments of real interaction and the voices fuelled and enhanced each other.

Christian Van Horn’s Enrico was a caricature that sang in one mode only: self-important yelling.

Bruce Sledge a Donizetti stylist

Bruce Sledge as Riccardo Percy was the only one among the principals who sounded a natural in this musical idiom. His radiant, voluminous tenor and ease with language brought us the only spot-on Donizettian singing in the show, give or take the odd pushed high note early on. He wasn’t tasked with much acting, but at least there was the singing, which I’d go back for in another production. A name to look out for.

Anna Bolena
Sondra Radvanovsky in the title role of Canadian Opera Company’s Anna Bolena. Photo: Michael Cooper

Sondra Radvanovsky made me fall in love with her voice in Aida, and she made me fall out of that love in Donizetti. I’d argue that Verdi is a more suitable composer for showcasing the strengths of her voice but in Toronto we’ve only seen her in earlier bel canto repertoire recently. Here, the bulk of her middle voice had an unlovely metallic sheen. The highs are gorgeous when sung softly (piano and pianissimo.) The loud highs, when called for, are a little out of control, bumpily reached and a bit shouty. Her final, delirious scene had real moments of beauty, subtlety with text and on point portamenti, especially “Al dolce guidami.” It was too little too late.

This Anna Bolena is for Radvanovsky completists—and for those who like their opera in tiaras and elaborate costumes.

7 COMMENTS

  1. Wow – the unnamed reviewer definitely got out of bed the wrong side the day he/she wrote this very negative review. Not so the audience (mostly knowledgeable opera-goers since this is not a hugely familiar opera), who almost all leapt to their feet to give the outstanding cast one of the most prolonged standing ovations that the Four Seasons Centre has seen.

    OK, the unnamed reviewer doesn’t like the opera (perfectly clear) which he/she puts into the “deader than a museum piece” category, and even takes pains to criticise the “star sopranos” who “insist on singing this role”. Opera companies do not put on operas at the insistence of the singers – they stage them because they consider them important and interesting. Fortunately the audience did not agree with the reviewer’s put-down of one of Donizetti’s finest works.

    No opera production or performance will appear perfect to everyone, but to give short shrift to the outstanding performance of Sondra Radvanovsky, the finest current performer in this most demanding role just because the reviewer doesn’t appreciate the opera, is simply unprofessional.

    • Just a quick note that the reviewer is identified under “source” at the end of article.

    • The fact that you think this is a very negative review is indicative of the tenuous state of arts criticism in this country. It is not a gushing fount of positivity, but just because a critic asks questions and expresses opinions that are not synonyms of wonderful does not make them unprofessional.

      Opera companies do, in fact, program operas as vehicles for certain opera stars. I wouldn’t have thought this was possible to dispute. They do stage operas sometimes, not because they are interesting and important, but to showcase stars or to sell tickets. This is part of a survival strategy. This is also to balance other shows which may not sell, or feature lesser known talent, or be to the taste of the general public.

      Sometimes a critic will like something that other people boo. Sometimes a critic will genuinely have reservations about something that people stand and clap lustily for. By your logic, Justin Bieber represents the acme of culture in Canada.

      You can argue that this reviewer is stupid, or that you disagree with them, but calling a reviewer unprofessional because they don’t agree with your opinion shows a fundamental misunderstanding of criticism and its role in our community. Maybe you were being rhetorical, but it is not a word to be tossed around lightly.

  2. The confrontation between Anna & Giovanna “ought to have been the most dramatic scene in the opera”? More than the judgement scene? More than the 20-minute mad scene that ends with Anna’s beheading?

  3. Let me stick my neck out here with a completely different tack on what Lydia Perovic (the writer was credited) wrote for, submitted to, and was accepted by, Canada’s flagship Opera publication OPERA CANADA Magazine. Any critic is free to state that they either liked or disliked the choices made by a director, and the quality of performances that were witnessed as a result of those performances. What differentiates one writer from another is the “tone” of that review. Take the comment about Smeton being misrepresented as a child versus a handsome young man. Smeton, the Queen’s page, could very logically be playing with, or entertaining, the Young Elizabeth without having to be the “same age” as the Young Elizabeth – but Perovic asserts that this scene makes Smeton “too young” to be a credible suitor for Anna. The entire point of that sub plot is in fact that Smeton is an innappropiate suitor for Anna. The assertion by Perovic comes across as derisive painting the director as someone who is ignorant of the machinations of the plot. I can assure you that no one took more care to scrutinize every scene and bring it, as much as the score and libretto would allow, to life. I say this as a cast member – yes I sang the role of Lord Rochefort and my name is Thomas Goerz. I openly admit, ANNA BOLENA is not my favourite score (of the roughly 75 operas I have sung in my career), but I have enough of an operatic IQ to recognize that what Donizetti wrote is very worthy of inclusion in the standard repertoire, and that the vocal challenges of the principal characters (my secondary role is not at all comparable in difficulty – I’m aware of that too) is monumental. What Perovic failed to convey to her readers is that, not only did the entire cast of principals acquit themselves with A LIST standards of vocal excellence, (by the way – Enrico is supposed to sound shouty and bombastic) but the audience, at all nine performances, embraced those performances with very enthusiastic applause. Every singer delivered, appropriately, what Donizetti wrote. Radvanovsky is the consummate singing actor. Totally committed. Utterly convincing. But Perovic decides to review Radvanovsky for what she “imagines” she could sound like in the context of previous roles, rather than what was heard in the theatre on the day – again the “tone” of this review is very much in question.
    And so I go back to my opening statement. This review appears in OPERA CANADA. Does Opera Canada have a mandate to support the art form in Canada (and to the world by virtue of their web publications)? I would urgently hope so. I can’t insist that they be as supportive as possible, but I can raise my voice and urge them to do so. To publish the review written by Ms Perovic to me is a highly questionable choice. I read ALL the reviews for this show, and this one was by far the most negative and controversial. I’m not asking any critic to GUSH with blind enthusiasm simply because someone in Canada put on an opera, people attended, and fans applauded. We’ve had reviews like that and we all know how embarrassing they are, both to the writer and the artists who committed months of hard work for public consumption. But this ANNA BOLENA would have been greeted with enthusiasm in any opera house in any country. An imperfect opera done at a very high standard – so why is OPERA CANADA choosing to share a review that conveys so little of that world class quality? Those imperfections could well have been stated without the negativity, without the tone of someone who is apparently weary of the art form. As a cast member I was all too aware of the potential for someone to be “turned off” by the traditions of bel canto, because I had several friends who asked to come and see ANNA BOLENA – friends who had never seen an opera. Would it be too long? Would they “get” the vocal artistry? Each one of these friends was unreservedly enthusiastic and said that they would absolutely want to see another opera based on their experience with ANNA BOLENA.
    I urge OPERA CANADA to think more carefully before publishing more of this type of review. Opera – indeed all of the live performing arts – needs all of the well informed positive support it can get in the face of a digital “instant entertainment” filled world. Balanced reviews that highlight what was good, and what wasn’t so good, are absolutely welcome. I, Thomas Goerz, will not be running out to by the latest hottest video or CD of the Donizetti Tudor operas, but I was completely won over by the awesome talent of the cast that brought ANNA BOLENA to the Four Seasons Centre, and the thousands of cheering fans who attended a virtually sold out run. That’s honesty, without being jaded or “opera weary”. Please take note OPERA CANADA – or you may just lose a subscriber who has been loyal to your magazine for the last 30 years.

  4. I saw the opera on. May 17. It was incredible. Everyone in the ensemble was committed and sang well. I adored the portrayal of Christian Van Horn as the King. Sondra is my favourite soprano, I admit that. I think she is the best in the world now in this repertoire and I have heard meany other singers including Joan Sutherland and Callas years ago. In fact Sondra’s voice does remind me of Sutherland. Sondra is a fabulous actress. The audience stood as one for the ovations that lasted many minutes. No one rushed out.

    The critic obviously is entitled to her opinion albeit negative. Go figure. Wonder what her qualifications are. But no matter. it was a great memorable evening of opera.

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