“Anna Bolena”: Palace Tragedy Told With Searing Drama at Lyric

“Anna Bolena” premiered in December of 1830, composed by Gaetano Donizetti, who lived from 1797 to 1848. So it is a bel canto opera, right? Yes, but don’t think the principals will just stand there and sing.

The three hour and 25 minute production at Lyric Opera of Chicago opened Saturday, Dec. 6, and this “Anna Bolena” is imbued with so much passion, intrigue and suffering that nothing is sung without intensity and motivation. Add to that Donizetti’s profusion of rich Baroque ornamentation and you have an evening of spine-tingling song.

The characters are straight from 16th century history books, so we know how this world-shaking palace drama ends. In truth, no one could make up a monarch like Britain’s Henry VIII, who divorces or beheads wife after wife, but as his doomed second wife is portrayed by American soprano Sondra Radvanovsky, we grasp her humanity and suffering as moment by moment her fate becomes more apparent to her. She does not spare us her dread and fear as she moves toward madness. Her shimmering voice soars with power, and she navigates the score’s trills and leaps with the flexibility of an Olympic gymnast. She wears a rich blue gown, less royal in hue than elegantly maternal. She has one child, Elizabeth, who was not yet three years old when her mother was executed. The little girl appears several times on Lyric’s stage, often to be scooped up in Radvanovsky’s arms.

Anna’s rival for Henry’s affection is her lady-in-waiting Jane Seymour, sung by American mezzo-soprano Jamie Barton. Barton’s fluid, flowing voice is also blissfully at ease in this part, though she has Wagnerian credits. The historical Jane was also lady-in-waiting for poor Catherine of Aragon, the first of Henry’s discarded wives. If that bespeaks a cold-hearted person, the opera instead paints this betrayal as full of torment and guilt, giving Barton plenty of powerful moments to reveal her conflicted feelings.

The role of Anna’s first love, Lord Percy, is sung by American tenor Bryan Hymel, making his Lyric Opera debut. Hymel is a formidable force throughout, a masterful tenor who hits the high notes, embellished or no, with confidence and splendor, winning him wild applause on opening night.

John Relyea, an American bass, is Henry VIII. His opening night portrayal of the monarch was so vivid that at the curtain call, after properly applauding his voice, the audience began to boo the cruel, false-hearted character he had played. He took it well.

Kelley O’Connor, an American mezzo-soprano, has the trouser role of Smeton. Best known for her work with contemporary composers, O’Connor sang in the world premieres of Osvaldo Golijov’s “Ainadamar” and John Adams’ “El Nino,” both of which were later presented at the Ravinia Festival.

Smeton is a young courtier who has a crush on the Queen. He lies about her relations with Percy in the misguided hope that the Queen’s life might be spared. There is a light quality to O’Connor’s lovely dark-hued voice, and on opening night she was often overpowered by the orchestra, under the baton of American Patrick Summers, making his Lyric Opera debut.

The sets by American designer Neil Patel are constantly in motion. Walls, pillars, thrones, a bed, and a massive piece of art come and go. In the second act, Anna stands alone on a huge metal stairway with wheels. It will, presumably, take her to the place of execution. Only a densely coffered ceiling seems stationary, until it also descends during the final moments of the opera.

Lyric’s first and only previous presentation of this opera was in 1985,  but it has been worth the wait. This production is magnificent. Go for its true and tragic story, for its stunning voices, raw emotion and sumptuous music. You won’t be sorry.

 

Anna Bolena,” sung in Italian with English supertitles, runs in repertory through Jan. 16 at the Civic Opera House, 20 N. Wacker Drive, Chicago. For tickets and information, visit Lyric’s website or call 312-827-5600.

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