(Credit: Sébastien Mathé)

Vincenzo Bellini’s last opera, “I Puritani,” premiered in 1835 at the Theatre d’Italie in Paris, in the same year he untimely died at 35. The story is set in England in the 17^th century, during the civil war between Cromwell’s republicans (the Puritans of the title) and the Stuarts’ royalists. While the music sets this work as one of the pinnacles of Italian bel canto, the libretto fares considerably worse, presenting numerous inconsistencies.

Story Details

The political conflict serves merely as a backdrop to the central love story, revolving around Elvira, the daughter of Lord Valton, a supporter of Cromwell, and Lord Arturo Talbot, a royalist fighting for the Stuarts. Sir Giorgio, Elvira’s uncle and a father figure (a puzzling addition, given that she already has a living father), persuades Lord Valton to consent to the marriage between Elvira and Arturo. Elvira is ecstatic, and the wedding preparations are met with great celebration in the Puritan camp (though it’s unclear why Cromwell’s followers would rejoice over the union of one of their own with a royalist).

As the story unfolds, Arturo discovers Queen Henrietta, the wife of Charles I, held captive in the republican camp incognito. He resolves to rescue her, fleeing with her and abandoning Elvira at the altar. Devastated by what she perceives as betrayal, Elvira descends into madness, delivering a breathtaking mad scene. Arturo later returns to see her one last time, only to be sentenced to death. However, news arrives that the Stuarts have been defeated by the republicans, leading to a general pardon for all prisoners of war. Arturo is spared, Elvira regains her sanity, and the two are finally united in marriage. This abrupt happy ending unfolds so quickly that it could easily be missed in an untimely sneeze.

Laurent Pelly Goes With the Flow

In his 2013 production, director Laurent Pelly chose to fully embrace the opera’s eccentric plot rather than attempt to rationalize it. The set design features a revolving platform with the metallic framework of a 17th-century castle, complete with turrets, staircases, and balconies, evoking the sense of a cage—a fitting metaphor for Elvira’s confined existence. From the outset, Elvira is portrayed as emotionally fragile, constantly darting around the castle, even when not singing, in a state of distress or excitement. Her mental instability is palpable, which adds depth to her eventual mad scene, though it may slightly diminish its shock value by foreshadowing her breakdown.

The costumes, also designed by Pelly, draw inspiration from 17th-century Puritan attire, with a monochromatic palette of gray tones. However, the fabrics used are anachronistic—felt helmets for the soldiers and stiff wool for the women’s dresses—creating a doll-like aesthetic that detaches the characters from their historical context. This stylized approach extends to the chorus, whose movements reinforce the idea of the characters as puppets or chess pieces. The women, with their rigid skirts, twirl mechanically, adding to the production’s surreal, almost toy-like atmosphere.

Orchestra & Chorus Highlights

The chorus plays a central role in “I Puritani,” not only commenting on the drama but actively participating in it. The Paris Opera Chorus delivered an outstanding performance, demonstrating remarkable control over dynamics and impeccable rhythmic precision. A particularly memorable moment came at the opening of Act two with the chorus “Ah, dolor! Ah, terror!” where the subtle accents were perfectly executed in a truly captivating scene.

On the podium, Corrado Rovaris proved his deep understanding of this repertoire. His interpretation of the score was precise and well-paced, maintaining momentum while always showing great respect for the singers, never allowing the orchestra to overwhelm them. The orchestra produced a rich and beautiful sound, perfectly balancing exuberance in the martial choruses and the baritone and bass duet, without ever veering into marching band territory.

Lisette Oropesa: La Diva!

The cast was led by Lisette Oropesa, who made her debut in this role in a staged production during this run. Her performance was nothing short of extraordinary, excelling both musically and dramatically. Her bright, silvery soprano navigated the daunting coloratura passages Bellini composed for his heroine with remarkable ease. She delivered flawless, precise trills, thrilling coloratura, and stunning high notes that sparkled with brilliance.

In the upper register, her voice had a fluttering quality that added an emotional intensity to every phrase, as though she could convey the palpitations of a racing heart. In the more lyrical sections, her seamless legato and delicate pianissimi were deeply moving. A resounding success!

Lawrence Brownlee Highlights

Her lover Arturo was portrayed by Lawrence Brownlee, whose luminous high tenor showed some signs of wear, particularly in the first act. The role of Arturo was originally written for Giovanni Battista Rubini, a legendary tenor renowned for his extraordinary high tessitura and powerful projection. Rubini’s exceptional abilities inspired Bellini to compose a role that is nearly impossible to perform today. Brownlee, however, carried Rubini’s legacy with pride.

His interpretation was largely successful, with his signature high notes remaining brilliant and secure, his coloratura flowing effortlessly, and his bel canto style firmly intact. He truly shone in the finale, particularly in the duet “Vieni fra queste braccia,” where his exquisite legato and passionate delivery were perfectly matched by Oropesa, creating one of the evening’s most memorable moments. His subsequent aria, “Credeasi misera,” was another highlight, brimming with emotion and wisely avoiding the perilous super-high F in favor of a beautifully executed D-flat.

Stunning Cast

Riccardo, the character hopelessly in love with Elvira, was portrayed by Andrii Kymach. His baritone possessed impressive projection, though his timbre had an unpolished quality that his powerful, unrestrained delivery did little to refine. Despite this, he effectively conveyed the anguish of his unrequited love, his burning desire for vengeance against his rival Arturo, and his abrupt change of heart when he decides to help Arturo escape a death sentence (yet another puzzling twist in the libretto).

Roberto Tagliavini delivered an outstanding performance as Sir Giorgio. His bass was velvety and effortless in the upper register, while remaining resonant in the lowest notes. His impeccable legato, authentic Italianate tone, and flawless diction made his portrayal a genuine delight. He excelled in the aria “Cinta di fiori” as well as in the duets—first with Oropesa in Act one, and later with Kymach at the end of Act two in the rousing “Suoni la tromba e intrepido,” a sudden and somewhat inexplicable celebration of war.

The three minor roles were entrusted to members of the Troupe Lyrique of the Paris Opera. Maria Warenberg portrayed Queen Henrietta with a warm, bronzed mezzo-soprano that lent her an air of authority, despite her youthful appearance. Vartan Gabrielian, as Lord Gualtiero Valton (Elvira’s father), delivered a well-supported bass-baritone with a beautiful legato, adding gravitas to the role. Manase Latu, in the role of Sir Bruno Roberton, showcased a bright, high tenor with excellent projection and a refined bel canto style.

The evening was a resounding triumph, culminating in a standing ovation for Lisette Oropesa.