Word: devereux
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...opts mostly for one side of the story-his. He says nothing of his glaring failure to bring Soprano Beverly Sills to the Met, for example, but grows highly petulant because she and the New York City Opera scheduled Donizetti's Tudor trilogy (Maria Stuarda, Anna Bolena, Roberto Devereux) at the same time he was planning it at the Met for the Spanish prima donna Montserrat Caballé. "We finally accepted the fact that Beverly Sills of the City Opera, having been born in Brooklyn, was entitled to priority in the portrayal of British royalty," Bing bitchilly recalls...
Inguard and Nelson lost to Williams and Kellogg, while Rick Devereux and Bill Babcock, substituting for Barnet and Loring at third doubles played until dark and eked out a come-from-behind...
...outer charisma of her character. Emotionally it is as if Sills were living in 16th century Tudor England. Indeed, that may well be the case these days. She is in the midst of performing a trilogy by Donizetti that began last season when she sang Elizabeth I in Roberto Devereux, and will be rounded off next year when she sings Elizabeth's mother in Anna Bolena. The whole project, as City Opera Director Julius Rudel says, amounts to a sort of Elizabethan Ring...
...Elizabeth of Devereux is a study in willful, stony obduracy. By contrast, the role of Elizabeth's archrival and victim Maria is mercurial and passionate, offering Sills an ideal opportunity to display her gift for developing a character. In her first scene, Sills is a sweet-voiced lark of a girl enjoying the open sky and the fragrant fields. Moments later she is off on a rapturous, throaty love duet with the Earl of Leicester, making Donizetti's elaborately wrought roulades and cantilenas sound as natural as a lullaby...
...Roberto Devereux, Beverly's researches convinced her that at the time of the opera's action, Elizabeth I would have been a much older woman than is usually portrayed. Appearing at rehearsal one day made up as a 60-year-old, Beverly persuaded the company that she was right?including Director Capobianco. Onstage, that makeup lends a harsh poignance to the climactic moment when Elizabeth, her voice dry and pinched, sentences her recalcitrant lover Essex to death...