Reviewed by James Karas
Vincenzo Bellini’s I Puritani is one of the finest bel canto operas, warts and all, and the Metropolitan Opera transmitted it to theatres around the world on January 10, 2026. Musically and vocally, it is an outstanding production but the “warts” of the libretto are still there. This was the 67th Metropolitan Opera performance of the work which gives you a good indication of its popularity.
The last Met production was in 1976 and it was revived several times. The current staging is by Charles Edwards who brings his own ideas. He tinkers with the plot that involves the beautiful Elvira (Lisette Oropesa) who is in love with Lord Arturo during the English Civil War of the 1640’s. She is a Puritan (The Roundheads) and he is a Royalist (The Cavaliers). During the overture, Edwards shows Elvira painting Arturo’s portrait and falling in love with him. It is 1641 and the Civil War has not started yet but it is brewing. Edwards gives us a timeline on the screen to make sense of the libretto.
In the meantime, Puritan Riccardo (Ricardo José Rivera) has fallen in love with Elvira and her father wants her to marry him. Luckily her uncle Giorgio (Christian Van Horn) has convinced him to let her marry Arturo.
In the meantime, or eight years later, we meet Enrichetta (Eve Gigliotti) flitting on and off the stage. Arturo arrives at the camp of the enemies, for his wedding to Elvira and recognizes Enrichetta as the wife of the beheaded King Charles I. She is a prisoner of the Roundheads and he decides to save her from certain death by disguising her as Elvira and leaving the latter at the altar.
If you sense noticeable creaking, it is not the floorboards; it is the plot. In any event Elvira goes mad, the Roundheads win, Arturo returns, Elvira regains her sanity and they all live happily evert after. You do not see I Puritani for the plot details but for the gorgeous music, astounding bel canto singing, superb sets and lighting that more than make up for the unsatisfactory libretto by Carlo Pepoli, based on the play Têtes Rondes et Cavaliers by Jacques-François Ancelot and Joseph Xavier Saintine.
You see the opera to hear the extraordinary voice of soprano Lisette Oropesa. Bellini provides melodies that demand flourishes, long lines , intricate singing that few sopranos can manage. Oropesa masters him. She is stunning throughout and especially in the Mad Scene with a full-range display of emotional depth and vocal splendor.
Tenor Lawrence Brownlee has a light, flexible and terrific tenor voice that can reach the stratosphere but sings with unmatched beauty in his arias and ensemble pieces. His Arturo is heroic, decent, in love and always vocally marvelous as he holds the long phrases, soars where necessary and is simply an aural delight.
Baritone Artur Ruciński was indisposed and baritone Ricardo José Rivera replaced him on a few hours’ notice in the role of the spurned lover Riccardo. He did excellent work and earned the respect, enthusiasm and enthusiastic applause of the audience. Well deserved.
Bass baritone Christian van Horn sang the role of Elivira’s uncle Giorgio. Van Horn exudes authority and compassion and can convince Elvira’s father to let her marry for love. Van Horn is a fine actor and a superb singer, able to handle his solo and ensemble singing with rare sonority and beauty.
Edwards makes Elvira a painter and there are numerous portraits on stage. The one that drew my attention was a huge portrait of King Charles I that Enrichetta dances with and twirls around her head and kisses affectionately. The latter made no sense but making Elvira an artist is a nice touch.
Edwards also designed the sets, featuring paneled risers that could be a legislature or a meeting hall. Tim Mitchell’s lighting design changes scenes and atmosphere brilliantly. Gabrielle Dalton’s costumes feature the classic black dresses, white collars and white hats for the women and similar black and white costumes for the men. There are exceptions for Arturo, Elvira and Enrichetta and, I assume, brilliant red for the victorious Oliver Cromwell who makes a short appearance.
Marco Armiliato conducted the Met Orchestra and Chorus in a superb performance. Bellini composed numerous pieces for the chorus that all added to a memorable production of an opera
Edwards and Armiliato, with the brilliant cast, brought out the best of I Puritani and watching it on a big theatre screen was highly enjoyable.
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I Puritani by Vincenzo Bellini was transmitted Live in HD from the Metropolitan Opera on January 10, 2026, at the Cineplex VIP Shops at Don Mills, 12 Marie Labatte Road, Toronto Ontario and other theatres across Canada. Encores will be shown on February 28, 2026. For more information: www.cineplex.com/events
James Karas is the Culture Editor of The Greek Press, Toronto
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