Plodding plot lets stars shine

The reason for the rarity is that it's a pretty terrible piece of music drama, with stock-in-trade situations, characterisations and reactions, and a tendency to break into trite, lavishly decorated arias over oom-pah-pah harmonies at moments of greatest potential intensity. But dramatic depth is not the point of this sort of opera. Its purpose is to provide singers the means to show their brilliance and to give audiences a superficial thrill. To that extent, Devereux succeeds.

Spanish tenor José Bros, as Devereux, was the real article, steely-strong in sound, fluid in technique, and with a ringing high C sharp in his armoury. Charismatic Italian soprano Sonia Ganassi, as Sara, Duchess of Nottingham, confirmed her own blossoming reputation, singing with a shining timbre and oodles of charisma. But Italian baritone Roberto Frontali, as Nottingham, rarely saw fit to modulate his remarkable power. (Or perhaps the part really is marked with a triple forte indication throughout.) Although Nelly Miricioiu still has remarkable presence and formidable technique, and retains something of the laser-like quality of Callas's sound, as Elisabetta she seemed over-stretched, lacking the tonal variety and sheer stamina needed to convey adequately the erupting rages of the virgin queen. Maurizio Benini, conducting the excellent ROH Orchestra, left nobody in doubt of his own devout championship of the piece.

There's another chance to hear the work tomorrow night.

Korn/Ferry Opera Holland Park: Roberto Devereux