And no, I did not miss Anna Bolena, though it is gone now. For the record, Radvanovsky did not disappoint in arguably the starriest turn of a WNO season resting heavy on its diva cred. Her distinctive sound is always a pleasure in my book, and that built-in sob she has is a natural ally for Donizetti. Unfortunately, the whole thing never managed to catch much fire thanks to a variety of shortcomings that outweighed some not inconsiderable positive qualities.
Perhaps the first mistake was not allowing for some regular cuts in the opera (specifically in the final scene for the tenor, so Downey tells us). Not saying the whole uncut business couldn't be compelling (different strokes and all that), but it would require more dramatic firepower than this cast or production had at its disposal. Radvanovsky, despite her musical virtues, is not always a dynamic stage presence, and coming at the end of a long night, her priddy but static final scene had the audience restlessly casting about for someone to enter with the axe already. When Anna Bolena feels considerably longer than the intermission-less 4.5 hours I spent in Einstein on the Beach the following evening, ur doing it wrong.
Sonia Ganassi, whom we enjoyed quite a bit in Werther last year, was a standout among the rest of the cast, with a flexible, urgent sound that provided a Seymour that was a worthy counterweight to Radvanovsky's Bolena, though the potentially explosive duet scene stopped somewhere in the neighborhood of admirable. Mezzo Claudia Huckle also shone in the trouser role of Smeton, the court musician who pines after Anna.
As far as the men are concerned: I assume I heard Georgian tenor Shalva Mukeria in the role of Percy since there was no B-cast and I don't recall an insert (I saw the 9/21 show), but I'm having a hard time reconciling the general praise elsewhere with what I heard--a respectable but pedestrian voice for most of the evening, certainly a notch below the tenor obtained for Lucia last year, and one which ended up demonstrating significant strain by the time the final prison aria rolled around. Points for Oren Gradus, as Henry, for being the only one onstage who seemed to really throw himself into the staging choices--vocally he was solid throughout but his honey-less tone is a bit of a chore in this music.
But the chief strike against the evening was the production, directed by Stephen Lawless. There were thoughtful elements here--I was down with the balconies of spying courtiers, though not sure if the allusion to the Globe in the set design was clever or just convenient--but on the whole it was fairly hideous. The vast expanses of cheap unfinished looking wood, liberal use of antlers, and wan, unfocused lighting evoked nothing so much as a 5th generation Williamsburg bistro several weeks before opening. Yikes.