Beverly Sills, the American opera star who was born in Brooklyn and works exclusively in her hometown as chairman of the Met, reached the peak of her career in her portrayal as Queen Elizabeth I, in the otherwise obscure Donizetti opera, Roberto Deveraux. The bel canto opera had powerful drama lurking beneath the text in the libretto. Like so many other bel canto operas, including Donizetti's Lucia Di Lammermoor, it was considered romantic tragedy, fluff, a showcase for dramatic/coloratura soprano with no meaning or substance. But the revivals of Donizetti operas by the singers Maria Callas, Joan Sutherland and Montserrat Caballe (who effectively portrayed Lucrezia Borgia), the otherwise neglected operas were rarely performed. Beverly Sills, in my personal opinion, despite the criticism of being simply a lyric coloratura soprano with signs of weakening vocal stamina in dramatic roles, was a varied, artistic, gifted singer and actress. It was her combination of beautiful singing and effective acting that made her the equal to Maria Callas (I do not treat Maria Callas religiously and only favor some of her performances). Beverly Sills' dramatic portrayal in Roberto Deveraux can be likened to a Shakesperean heroine. She is regial, overbearing, imperious, romantic, jealous, remorseful, melancholic, in that order. The story is quite well known. It was said that Queen Elizabeth loved Robert Deveraux, Earl of Essex, her naval commander and favorite lord of the court. But after his military involvement in Ireland, he returned with accusations of treason against the Queen. In the Donizetti opera, the personal romantic triangle is the true reason, and his execution is spurred on by the Queen's jealousy. The Queen loves Roberto deeply, to distraction, one recalls the 30's Bette Davis film performance in The Private Lives Of Elizabeth and Essex. The Queen might have given him the throne had he not infuriated her. Her love is demonstrated in the lyricism of the aria "Un tenero core" and in the coloratura techniques of her aria "A ritorno qual ti spera", as well as her duet with Roberto, "Un lampo, un lampo orribili". Deveraux does not return the Queen's love, and is instead hopeful he will consumate his love to the Duchess Sara. Act I introduces the love triangle and the romantic side of the Queen. Beverly Sills fires up the audience with her powerful presence- her white-roughed face, her tall and regial character, showcased in her costume, an Elizabethan royal gown that weighed quite a lot, and the slightest movements of her imperious hands.

A direct contrast of the Queen's soft side comes in Act 2. Once hearing Deveraux has betrayed her, it becomes not merely a political thing, but a personal one. Deveraux has lied to her and loves another woman. "Un perfido! Un vile! Un mentitore !" she rages, in scales that resemble Bellini's Norma, also jilted by the man she loved: "A traitor! A villian! A liar!." Beverly Sills voice is dark, dramatic and furious. Further, she explodes in jealous anger "It would have been better that you anger God and descended alive into your grave than anger the daughter of the terrible Henry 8th!." In an ensemble that concludes the act, the Queen and her court sentence Deveraux to death. After declaring the sentence, the Queen shouts "Va!" (Go!") which follows the lines "Va La Morte Til Copo te pende" (Death hangs over your head), a furious, fast paced, exciting conclusion that seems as if Deveraux's fate is completely sealed as if damned to hell.

The final act is brief, but poignant. The Queen attempts to save Deveraux from execution, but through accident caused by Duchess Sara, Deveraux is killed. The Queen is beyond herself with remorse and grief. Mourning his death, she no longer feels she is the queen of England (Vivi Ingrato) and concludes the opera with a deep sadness and proclamation that James I will be the future king (Quel Sangre Versato). This ultimate opera is finally on DVD. Finally a chance for audiences to watch Beverly Sills in her greatest role, in live performance.