I Puritani, Royal Opera House

★★★★☆

Vincenzo Bellini's I Puritani, first performed in Paris in 1835, stands as one of the great achievements of the bel canto repertoire. Set against the backdrop of the English Civil War, its story of love, loyalty and political division often stretches credibility, but Bellini's long, soaring vocal lines and emotional intensity have ensured its place in the operatic canon. This new Royal Opera House production, directed by Richard Jones, does not attempt to reinvent the opera. Instead, it offers a mostly faithful telling, adding a few darker dramatic touches that subtly reshape its ending without overwhelming the original work.

Bellini's portrayal of the English Civil War is best approached as romantic fiction rather than historical drama. Written by Italian artists for a Parisian audience, the opera uses the conflict between Puritans and Royalists as a colourful backdrop for an intensely personal love story. Historical accuracy is secondary to emotional expression, and Richard Jones wisely avoids forcing obvious modern political parallels onto the narrative. Although the production blends Victorian dress, contemporary weapons and Gothic imagery, this stylised approach suits an opera that has never claimed to be a faithful reconstruction of 17th century England. Rather than distracting from the story, the visual ambiguity reinforces the timeless themes of love, forgiveness, obsession and the destructive consequences of revenge.

Visually, the production is understated rather than spectacular. Hyemi Shin's grey, industrial-style sets create a bleak military world of forts, prison cells and family crypts, while Nicky Gillibrand's costumes combine Victorian influences with modern military details. The mixture never feels entirely convincing, yet it avoids becoming distracting. Jones keeps the narrative clear and easy to follow, helped by projected letters exchanged between Elvira and Arturo that fill in important plot points, although this device occasionally feels more practical than inspired. His decision to replace Bellini's joyful ending with a final act of personal violence certainly surprises, but it also sits uneasily beside the composer's spirit of reconciliation.

Where the evening truly comes alive is in its music. Lisette Oropesa delivers a magnificent Elvira that alone justifies the revival. Her technical command is extraordinary, negotiating Bellini's demanding coloratura with remarkable ease while never allowing virtuosity to overshadow emotion. More importantly, she builds a believable portrait of a young woman gradually losing her grip on reality. Her madness unfolds naturally rather than theatrically, making every scene compelling. The famous 'Qui la voce' becomes less a showpiece and more an intimate psychological portrait, while her reunion with Arturo carries genuine emotional weight.

Francesco Demuro proves a committed Arturo. His lyric tenor has warmth and elegance, though some of the punishing top notes sound strained rather than effortless. Dramatically, however, he creates a sincere and sympathetic hero. Andrzej Filończyk embraces Jones' darker interpretation of Riccardo, portraying him as dangerously obsessive rather than simply disappointed in love. His forceful singing occasionally sacrifices refinement for dramatic intensity. Ildebrando D'Arcangelo brings warmth and dignity to Giorgio, even if signs of vocal wear occasionally emerge, while Marcela Rahal makes a memorable impression in the brief role of Queen Enrichetta.

Riccardo Frizza's Royal Opera House debut is another major success. His conducting demonstrates a deep understanding of Bellini's style, allowing the long melodic lines room to breathe while maintaining dramatic momentum. The orchestra produces beautifully coloured playing throughout, although balance occasionally favours the pit over the singers. The Royal Opera Chorus performs with energy, precision and excellent ensemble, adding weight to the larger ceremonial scenes.

The evening's magic moments belong almost entirely to Oropesa. From her radiant entrance as an excited bride to her heartbreaking emotional collapse, she commands the stage with astonishing consistency. While Richard Jones' production lacks the visual imagination and originality to become a definitive interpretation, it provides a solid framework for exceptional music-making. The staging is clear, the storytelling remains engaging, the musical standards are consistently high, and the emotional heart of the opera is never lost.

Ultimately, this is a revival elevated by world-class singing rather than theatrical innovation. Those seeking bold directorial ideas may leave wanting more, but anyone drawn to the beauty of Bellini's music, performed at the highest level, will find much to admire.

Image credit: @kentontristram

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