Anna Bolena

Gaetano Donizetti

Anna Bolena, Donizetti's third opus on the tragic fates of the Tudor queens, is a vocal feat that this evening's trio will tackle with great flair.

Sonya Yoncheva
Sonya Yoncheva © Javier del Real
Erwin Schrott
Erwin Schrott - DR
Marianne Crebassa
Marianne Crebassa © Simon Fowler
Maurizio Benini
Maurizio Benini - DR


Sonya Yoncheva | Anne Boleyn
Marianne Crebassa | Jane Seymour
Erwin Schrott | Henri VIII
Enea Scala | Lord Richard Percy
Matthieu Lécroart | Lord Rochefort
Raphaël Brémard | Sir Hervey
Héloïse Mas | Smeaton

Maurizio Benini | direction
Orchestre de chambre de Paris
Ensemble Lyrique Champagne-Ardenne 

Sung in Italian with French surtitles

To read

History does not care for uneventful kings. Posterity does not remember happy reigns: happiness, rarely romantic, is boring. But blood, sex and tears with gothic decorations and costumes full of pearls and opulent strawberries, that's a winner. This is one of the reasons why the English Renaissance has been so successful since Donizetti and Rossini. The fascination with the Tudor court is matched only by that with the decadence of the Roman Empire. The novels of Walter Scott fascinated the Romantics. The librettists of the time favoured two types of characters: the bloody rulers, male or female, or the princes who were victims of the royal wrath. The excitement of thwarted love is particularly suited to politics. Donizetti's Tudor trilogy includes Anna Bolena in 1830, Maria Stuarda five years later and Roberto Devereux in 1837. (Vincent Borel)

PRODUCTION Les Grandes Voix
France Musique broadcasts this concert

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