In review: from around the world: Munich.(International)(Roberto Devereux)(Opera Review)

Bavarian State Opera's new Nationaltheater production of Donizetti's Roberto Devereux (seen January 19) was billed as the first-ever performance of the work in Munich, not traditionally a bastion of bel canto repertoire. Respected stage director Christof Loy chose to update the Elizabethan-era action to contemporary England. For Loy the situation of Elizabeth I--a ruler at the mercy of her Parliament, a woman caught in the machinations of a male-dominated system of political power--has definite parallels to today's world political situation. Politicians here are little better than thugs, essentially beating Essex bloody when the Queen isn't looking. Donizetti's powerful, if historically hazy, final scene sets an emotionally broken, politically ineffective, weary Queen bidding farewell to the world. Herbert Murarer has set the action in an inner antechamber with the atmosphere of an airport waiting room.

The undisputed star of the evening was Edita Gruberova, who, as Elizabeth I, was in stunning voice throughout. Gruberova is not an exceptional actress, but over the years she has raised her level of dramatic commitment considerably. In this case, though, Loy's modernization of Roberto and his prima donna, a veteran bel canto star, were at cross purposes. However sincere and ...