Anna Bolena, Donizetti, Longborough Opera

July 2, 2019 by

It is difficult to have great sympathy for Anna Bolena – as she herself admits in Donizetti’s operatic take on Henry VIII’s second wife. But in this opera it is also difficult to feel anything for her replacement Giovanna (Jane) Seymour – and she too knows it!

Their only saving grace, apart from seeing their own faults, is that the representation of the Tudor king is completely revolting – quite what either saw in him apart from the title of course is a mystery and yet both gush forth their love.

It makes massive demands of the singers but at bold Longborough they are no stranger to ambition and our principals deliver. Jenny Miller has created a generally clean, crisp production with a simple set from Nate Gibson.


Linda Richardson

Caryl Hughes

Lukas Jakobski and Caryl Hughes


Linda Richardson sings the regally demanding title role with some sparkling moments and, yes, does get our sympathy as she heads for the swordsman’s slice. The mad scene is goosebumps-creating.

In the vocally but not dramatically lighter role, Welsh soprano Caryl Hughes is completely engaging as Giovanna Seymour and she too has gripping, intense scenes both with the woman she is to replace and the man who switches his affections (and lust) from doomed Anna.

There is real passion in the tenor of Jung Soo Yun as Percy and real strength to Lukas Jakobski’s pretty loathsome Henry, a literally towering figure in the quasi Tudor setting (with a backdrop that resembled a Renaissance vaulted ceiling) although costumes were more evening wear (and the on and off masks became a little tiring).

Our other doomed souls were excellently taken by Carolyn Dobbin and Matthew Buswell as Smeaton and Rochefort.

Conductor Jeremy Silver brought out the colour and richness of Donizetti’s score.


Images: Matthew Williams-Ellis

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