One soprano singing all three roles ? If Beverly Sills could do it, so could Edita Gruberova. In the 80's and early 90's, Gruberova managed to sing the roles with great acclaim in Europe.Her voice reminds people of the versatility of the female singing voice. In Anna Bolena, Gruberova showcases much of her lyric legato phrasing to note perfection, as in "A Dulci Guidami" and she is dazzling in the finale as Anne Boylen is about to be executed by order of Henry the 8th. In Maria Stuarda, she again impresses the listeners with her incredible breath control (those bel canto operas have such LONG VOCAL LINES between breaths)and her vulnerability and humanity shines through. As Queen Elizabeth I in Roberto Devereux, she is fiery, feisty and diva- esque. She may not reach the status that Beverly Sills' performance reached (Beverly Sills got a cover in the 1971 issue of Time magazine for Queen Elizabeth in this opera) but Gruberova does deliver a sensational performance. On stage, in red hair and make up, she does look like Queen Elizabeth and her acting was very powerful as well. So this is an overall superb recording of excerpts from all threee operas.
Roberto Devereaux was Donizetti's last opera. It dealt with the intense unrequited love of Elizabeth I in her old age to the dashing naval commander, Robert Devereaux, Earl of Essex. When she discovers he loves the Duchess Sara, and has betrayed her politically as well, the Queen sentences Devereaux to death. The part of Elizabeth I in this opera is the most demanding and high caliber role for a dramatic soprano, at equal grounds with Bellini's title heroine Norma. The part must be very varied- lyric, expressive in coloratura in the first act when we see how much she loves Devereaux and full of dramatic fire and fury toward the second act and finally, choked with grief and remorse upon failing to save Devereaux from his fate. The arias Edita Gruberova sings here are the final ones for the Queen- "Vivi Ingrato" and "Quell Sangre Versato", which express her lament upon Devereau's demise. Again, Gruberova fails to be convincing and dramatic. She sings purely in the bel canto tradition, all fluff and vocal beauty without the necessary substance and dramatic weight to make the opera greater and as Donizetti intended. For a great Edita Gruberova performance, in a Donizetti opera, listen to her in "Maria Di Rohan", in which she vividly and dramatically portrays another English monarch. For some reason, this obscure opera she revived looks and sounds great at her hands. It would be the only dramatic role she truly made legendary.
