Move over Broadway’s recently opened musical adaptation of the 1960s’ wife-swapping movie Bob and Carol and Ted and Alice, which has nothing on LA Opera’s premiere of Gaetano Donizetti’s opera Roberto Devereux about the 1600s’ kinky hi-jinks of Bob and Liz and Sara and Duke. To be more specific, I’m referring to the ménage-a-quatre (to coin a phrase?) between the titular character, Roberto Devereux (aka the Earl of Essex), Queen Elizabeth, Sara (the Duchess of Nottingham) and the Duke of Nottingham in Elizabethan England.
Donizetti’s tragedia lirica (tragic opera) with Salvadore Cammarano’s libretto, first produced in 1837 at Naples, is loosely based on at least one play and a publication about actual historical personages. This is one of Donizetti’s works depicting England’s House of Tudor, which include the Italian composer’s operas about Anne Boleyn (King Henry VIII’s doomed wife is alluded to in Roberto as she gave birth to Elizabeth) and Mary, Queen of Scots.