I Puritani

I Puritani typifies the 19th century bel canto tradition: i.e., minimal action, florid vocalizing, and the obligatory mad scene. Bellini wrote his last opera with specific artists in mind—four who could navigate the treacherous tessitura of the principal roles. Although it set all of Europe on its ear (the future Queen Elizabeth called it “the dear Puritani”) and was included in the inaugural season at the Metropolitan opera, I Puritani has not been regularly performed since, no doubt due to the legendary vocal demands placed upon the cast (prerequisites include two high D's for the tenor, along with the infamous—and unique to all of opera—high F in the finale). Set during England's Civil War in the 1650s, the story follows a Puritan named Elvira, who is jilted by her Stuart lover, Arturo, when he absconds with Queen Henrietta, in order to save the widow of Charles I from her enemies. As a result, Elvira goes crazy and Arturo is sentenced to death by firing squad (however, this is opryland and all ends well, with bride and groom united). Performed live in 2001 at Barcelona's beautiful Gran Teatre del Liceu, this is a tastefully staged mounting featuring a sparse but effective setting, and subdued costumes that reflect the Puritan ethic. Under the baton of Friedrich Haider, the orchestra is superb and the cast acquits itself quite nicely if one can erase the memory of legendary productions of the past (think: Callas, Sutherland, Pavarotti). Edita Gruberova has made this a signature role, but is vocally uneven here (though she redeems herself in the mad scenes), while José Bros is a sweet, clear tenor as Arturo. Rounding out the “Puritani Quartet,” Bassi Simon Orfila as Giorgio and Carlos Álvarez as Riccardo received enthusiastic applause here for their duet in the second act. Although not ideal, there is much to enjoy in this generally pleasing mounting of a seldom-performed work, presented here in DTS, Dolby Digital 5.1, and LPCM stereo. Recommended. Aud: C, P. (J. Reed)