The 26th of December 1830 marked a turning point not just for Italian opera, but for the career of a young composer named Gaetano Donizetti. When Anna Bolena premiered at the Teatro Carcano in Milan, the audience erupted in overwhelming success, a reaction so profound that it forced Donizetti's former teacher, Johann Simon Mayr, to finally address his former pupil as Maestro. Before this night, Donizetti was a talented but unproven figure, yet the triumph of this two-act tragedy catapulted him into the stratosphere of the operatic world. He emerged alongside Bellini and Rossini as one of the three most luminous names in the history of Italian opera, a status that would define the next three decades of his life. The opera itself was a tragedy lirica, a genre that demanded emotional depth and vocal virtuosity, and Donizetti delivered both in spades. The libretto, written by Felice Romani, drew from earlier plays by Ippolito Pindemonte and Alessandro Pepoli, but Donizetti's musical setting transformed the historical account of Anne Boleyn into a visceral, heart-wrenching experience. The story of Anne Boleyn, the second wife of England's King Henry VIII, was already well-known, but Donizetti's interpretation of her downfall was so powerful that it became the cornerstone of his reputation. The premiere cast included Giuditta Pasta in the title role, a soprano whose voice was legendary for its range and emotional power, and Filippo Galli as Henry VIII. The chemistry between the performers and the composer's innovative score created a perfect storm of artistic achievement. This success was not merely a local event; it was a signal to the world that a new master had arrived, one who could blend the bel canto tradition with the emerging romantic sensibilities of the age. The opera's immediate popularity ensured that Donizetti would never again be considered an outsider, but rather a central figure in the operatic canon.
The Tudor Trilogy
Anna Bolena was not an isolated work but the second chapter in a quartet of operas that Donizetti composed to explore the turbulent Tudor period of English history. The first of these, Il castello di Kenilworth, had appeared in 1829, but it was Anna Bolena that truly established the composer's command of historical drama. The trilogy of female protagonists that followed became known as the Three Donizetti Queens, a group that included Maria Stuarda, which appeared in different forms in 1834 and 1835, and Roberto Devereux, which premiered in 1837. These operas shared a common thread: they focused on the tragic fates of women entangled in the political machinations of the English court. Maria Stuarda told the story of Mary, Queen of Scots, while Roberto Devereux centered on a putative lover of Queen Elizabeth I. The leading female characters of these three operas were often compared and contrasted, creating a unique cycle of female tragedy that was unprecedented in the operatic repertoire. Donizetti's ability to humanize these historical figures, to give them voice and agency even in their darkest moments, was a testament to his genius. The operas were not merely historical reenactments; they were psychological studies of women caught in the gears of history. The connection between these works was so strong that modern opera companies have begun to present them as a trilogy, reviving the original vision of the composer. The first of these operas, Il castello di Kenilworth, had been a success, but it was Anna Bolena that truly set the tone for the trilogy. The second opera, Anna Bolena, was followed by Maria Stuarda, which appeared in different forms in 1834 and 1835, and Roberto Devereux, which premiered in 1837. The leading female characters of the latter three operas are often referred to as the Three Donizetti Queens. This cycle of operas was a bold experiment in historical drama, one that Donizetti executed with remarkable skill and emotional depth. The operas were not merely historical reenactments; they were psychological studies of women caught in the gears of history. The connection between these works was so strong that modern opera companies have begun to present them as a trilogy, reviving the original vision of the composer.The Premiere Cast
The original cast of Anna Bolena was a who's who of the operatic world in 1830, featuring some of the most celebrated singers of the era. Giuditta Pasta, who sang the title role of Anna Bolena, was a soprano of legendary status, known for her ability to convey deep emotion through her voice. Her performance was so powerful that it became the benchmark for all future interpretations of the role. Filippo Galli, who sang the part of Henry VIII, was a bass with a voice that could convey both the majesty and the cruelty of the king. The supporting cast was equally impressive, with Elisa Orlandi as Jane Seymour, a mezzo-soprano who brought a sense of tragedy to the role of Anna's lady-in-waiting. Lorenzo Biondi played Lord Rochefort, Anna's brother, and Giovanni Battista Rubini, a tenor of immense fame, sang the role of Lord Percy. Rubini's performance was particularly notable, as he was one of the most celebrated tenors of the 19th century, known for his high notes and emotional depth. The role of Smeaton, the musician, was sung by Henriette Laroche, a contralto whose voice added a layer of complexity to the story. Antonio Crippa, a tenor, played Hervey, the court official. The cast was a testament to the high standards of the Teatro Carcano and the confidence of Donizetti in his ability to work with the best singers of the time. The premiere was a triumph, and the cast's performances were so well-received that they helped to establish the opera's reputation. The chemistry between the singers and the composer was evident in every scene, and the result was a performance that would be remembered for generations. The cast's ability to convey the emotional depth of the story was a testament to their skill and to Donizetti's ability to write music that brought out the best in his singers. The premiere was a triumph, and the cast's performances were so well-received that they helped to establish the opera's reputation.The Mad Scene
One of the most famous scenes in the history of opera, the mad scene in Act 2, Scene 3, is a masterclass in psychological portrayal and musical innovation. In this scene, Anna, now imprisoned in the Tower of London, descends into madness, imagining that it is her wedding day to the king. Donizetti used the theme from the English and American song Home Sweet Home to underscore her longing for her childhood home, a musical choice that added a layer of poignancy to her delirium. The scene is a tour de force for the soprano, requiring a wide range of emotions and vocal techniques to convey Anna's descent into madness. The music shifts from a dreamy, nostalgic melody to a chaotic, fragmented expression of her broken mind. The scene is a testament to Donizetti's ability to use music to tell a story, to convey the inner life of a character in a way that words alone could not. The mad scene has become one of the most famous and frequently performed scenes in the operatic repertoire, a testament to its power and its emotional impact. The scene is a tour de force for the soprano, requiring a wide range of emotions and vocal techniques to convey Anna's descent into madness. The music shifts from a dreamy, nostalgic melody to a chaotic, fragmented expression of her broken mind. The scene is a testament to Donizetti's ability to use music to tell a story, to convey the inner life of a character in a way that words alone could not. The mad scene has become one of the most famous and frequently performed scenes in the operatic repertoire, a testament to its power and its emotional impact.The Global Journey
After its premiere in Milan, Anna Bolena embarked on a global journey that would take it to the most important opera houses in the world. The opera was first performed in London at the King's Theatre on the 8th of July 1831, and its first US performance was given in French as Anne de Boulen in New Orleans at the Théâtre d'Orléans on the 12th of November 1839. The New York premiere of the opera, and the first Italian presentation of the work in the United States, took place at the Astor Opera House on the 7th of January 1850, with conductor Max Maretzek and Apollonia Bertucca in the title role. It appears to have been presented in Europe, up to 1850, in 25 cities and then again in 1881 in Livorno. After the rise of verismo, it was performed infrequently, but it was revived more frequently after World War II. On the 30th of December 1947, the opera was performed at Gran Teatre del Liceu in Barcelona, to mark that theatre's centennial. In April 1957, the opera was revived at La Scala for Maria Callas, one of the seven performances was recorded, in a lavish production directed by Luchino Visconti. It proved to be one of Callas' greatest triumphs. The opera's journey from Milan to the world was a testament to its enduring appeal and its ability to resonate with audiences across cultures and generations. The opera was first performed in London at the King's Theatre on the 8th of July 1831, and its first US performance was given in French as Anne de Boulen in New Orleans at the Théâtre d'Orléans on the 12th of November 1839. The New York premiere of the opera, and the first Italian presentation of the work in the United States, took place at the Astor Opera House on the 7th of January 1850, with conductor Max Maretzek and Apollonia Bertucca in the title role. It appears to have been presented in Europe, up to 1850, in 25 cities and then again in 1881 in Livorno. After the rise of verismo, it was performed infrequently, but it was revived more frequently after World War II. On the 30th of December 1947, the opera was performed at Gran Teatre del Liceu in Barcelona, to mark that theatre's centennial. In April 1957, the opera was revived at La Scala for Maria Callas, one of the seven performances was recorded, in a lavish production directed by Luchino Visconti. It proved to be one of Callas' greatest triumphs.The Modern Revivals
In the 20th and 21st centuries, Anna Bolena has experienced a renaissance, with famous sopranos lending their voices to the title role and bringing new life to the work. Beverly Sills earned a considerable degree of fame when she appeared in all three of Donizetti's Tudor operas at the New York City Opera, and she also made studio recordings of all three operas. Anna was one of the last new roles performed by Dame Joan Sutherland, at San Francisco Opera in 1984. The opera has been presented by the Dallas Opera in November 2010, which has also staged Maria Stuarda. The Minnesota Opera presented Anna Bolena as part of the Three Queens trilogy. The Vienna State Opera gave it in the Spring of 2011, with Anna Netrebko in the title role and Elīna Garanča as Giovanna Seymour. New York's Metropolitan Opera mounted it for the first time in September 2011, opening the company's 2011, 2012 season, with Netrebko and with David McVicar directing. Opera Seria UK in Manchester, England, staged Anna Bolena in 2012 as the first in their Tudor Queens trilogy, which continues into 2014. The Welsh National Opera presented the trilogy between September and November 2013, in many different venues in Britain. The Lyric Opera of Chicago also included Anna Bolena in their 2014, 2015 season. Sondra Radvanovsky has sung the title role at several opera houses including the Met in 2015. The opera's modern revivals have been a testament to its enduring appeal and its ability to resonate with audiences across cultures and generations. The opera has been presented by the Dallas Opera in November 2010, which has also staged Maria Stuarda. The Minnesota Opera presented Anna Bolena as part of the Three Queens trilogy. The Vienna State Opera gave it in the Spring of 2011, with Anna Netrebko in the title role and Elīna Garanča as Giovanna Seymour. New York's Metropolitan Opera mounted it for the first time in September 2011, opening the company's 2011, 2012 season, with Netrebko and with David McVicar directing. Opera Seria UK in Manchester, England, staged Anna Bolena in 2012 as the first in their Tudor Queens trilogy, which continues into 2014. The Welsh National Opera presented the trilogy between September and November 2013, in many different venues in Britain. The Lyric Opera of Chicago also included Anna Bolena in their 2014, 2015 season. Sondra Radvanovsky has sung the title role at several opera houses including the Met in 2015.The Recordings Legacy
The legacy of Anna Bolena is preserved in a series of recordings that span the 20th and 21st centuries, capturing the interpretations of some of the greatest sopranos of the era. The 1957 recording with Maria Callas, Nicola Rossi-Lemeni, Giulietta Simionato, and Gianni Raimondi, conducted by Gianandrea Gavazzeni, is considered one of the most important recordings of the opera. The 1958 recording with Leyla Gencer, Plinio Clabassi, Giulietta Simionato, and Aldo Bertocci, conducted by Gianandrea Gavazzeni, is another landmark recording. The 1965 recording with Leyla Gencer, Carlo Cava, Patricia Johnson, and Juan Oncina, conducted by Gianandrea Gavazzeni, is a live recording from the Glyndebourne Festival. The 1967 recording with Teresa Żylis-Gara, Karl Ridderbusch, Vera Little, and Gene Ferguson, conducted by Alberto Erede, is a studio recording. The 1968/69 recording with Elena Souliotis, Nicolai Ghiaurov, Marilyn Horne, and John Alexander, conducted by Silvio Varviso, is a live recording from the Vienna State Opera. The 1972 recording with Beverly Sills, Paul Plishka, Shirley Verrett, and Stuart Burrows, conducted by Julius Rudel, is a studio recording. The 1975 recording with Renata Scotto, Samuel Ramey, Susanne Marsee, and Stanley Kolk, conducted by Julius Rudel, is a live recording. The 1984 recording with Joan Sutherland, James Morris, Judith Forst, and Michael Myers, conducted by Richard Bonynge, is a live recording from the Canadian Opera Company. The 1987 recording with Dame Joan Sutherland, Samuel Ramey, Susanne Mentzer, and Jerry Hadley, conducted by Richard Bonynge, is a studio recording. The 1994 recording with Edita Gruberova, Stefano Palatchi, Delores Ziegler, and Jose Bros, conducted by Elio Boncompagni, is a studio recording. The 2006 recording with Riccardo Zanellato, Sofia Soloviy, and Gianluca Pasolini, conducted by Fabrizio Maria Carminati, is a live recording from the Teatro Donizetti. The 2011 recording with Anna Netrebko, Ildebrando D'Arcangelo, Elīna Garanča, and Francesco Meli, conducted by Evelino Pidò, is a live recording from the Vienna State Opera. The 2011 recording with Anna Netrebko, Ildar Abdrazakov, Edita Gruberova, and Stephen Costello, conducted by Marco Armiliato, is a live recording from the Metropolitan Opera. These recordings have preserved the legacy of Anna Bolena, capturing the interpretations of some of the greatest sopranos of the era.The 26th of December 1830 marked a turning point not just for Italian opera, but for the career of a young composer named Gaetano Donizetti. When Anna Bolena premiered at the Teatro Carcano in Milan, the audience erupted in overwhelming success, a reaction so profound that it forced Donizetti's former teacher, Johann Simon Mayr, to finally address his former pupil as Maestro. Before this night, Donizetti was a talented but unproven figure, yet the triumph of this two-act tragedy catapulted him into the stratosphere of the operatic world. He emerged alongside Bellini and Rossini as one of the three most luminous names in the history of Italian opera, a status that would define the next three decades of his life. The opera itself was a tragedy lirica, a genre that demanded emotional depth and vocal virtuosity, and Donizetti delivered both in spades. The libretto, written by Felice Romani, drew from earlier plays by Ippolito Pindemonte and Alessandro Pepoli, but Donizetti's musical setting transformed the historical account of Anne Boleyn into a visceral, heart-wrenching experience. The story of Anne Boleyn, the second wife of England's King Henry VIII, was already well-known, but Donizetti's interpretation of her downfall was so powerful that it became the cornerstone of his reputation. The premiere cast included Giuditta Pasta in the title role, a soprano whose voice was legendary for its range and emotional power, and Filippo Galli as Henry VIII. The chemistry between the performers and the composer's innovative score created a perfect storm of artistic achievement. This success was not merely a local event; it was a signal to the world that a new master had arrived, one who could blend the bel canto tradition with the emerging romantic sensibilities of the age. The opera's immediate popularity ensured that Donizetti would never again be considered an outsider, but rather a central figure in the operatic canon.
The Tudor Trilogy
Anna Bolena was not an isolated work but the second chapter in a quartet of operas that Donizetti composed to explore the turbulent Tudor period of English history. The first of these, Il castello di Kenilworth, had appeared in 1829, but it was Anna Bolena that truly established the composer's command of historical drama. The trilogy of female protagonists that followed became known as the Three Donizetti Queens, a group that included Maria Stuarda, which appeared in different forms in 1834 and 1835, and Roberto Devereux, which premiered in 1837. These operas shared a common thread: they focused on the tragic fates of women entangled in the political machinations of the English court. Maria Stuarda told the story of Mary, Queen of Scots, while Roberto Devereux centered on a putative lover of Queen Elizabeth I. The leading female characters of these three operas were often compared and contrasted, creating a unique cycle of female tragedy that was unprecedented in the operatic repertoire. Donizetti's ability to humanize these historical figures, to give them voice and agency even in their darkest moments, was a testament to his genius. The operas were not merely historical reenactments; they were psychological studies of women caught in the gears of history. The connection between these works was so strong that modern opera companies have begun to present them as a trilogy, reviving the original vision of the composer. The first of these operas, Il castello di Kenilworth, had been a success, but it was Anna Bolena that truly set the tone for the trilogy. The second opera, Anna Bolena, was followed by Maria Stuarda, which appeared in different forms in 1834 and 1835, and Roberto Devereux, which premiered in 1837. The leading female characters of the latter three operas are often referred to as the Three Donizetti Queens. This cycle of operas was a bold experiment in historical drama, one that Donizetti executed with remarkable skill and emotional depth. The operas were not merely historical reenactments; they were psychological studies of women caught in the gears of history. The connection between these works was so strong that modern opera companies have begun to present them as a trilogy, reviving the original vision of the composer.
The Premiere Cast
The original cast of Anna Bolena was a who's who of the operatic world in 1830, featuring some of the most celebrated singers of the era. Giuditta Pasta, who sang the title role of Anna Bolena, was a soprano of legendary status, known for her ability to convey deep emotion through her voice. Her performance was so powerful that it became the benchmark for all future interpretations of the role. Filippo Galli, who sang the part of Henry VIII, was a bass with a voice that could convey both the majesty and the cruelty of the king. The supporting cast was equally impressive, with Elisa Orlandi as Jane Seymour, a mezzo-soprano who brought a sense of tragedy to the role of Anna's lady-in-waiting. Lorenzo Biondi played Lord Rochefort, Anna's brother, and Giovanni Battista Rubini, a tenor of immense fame, sang the role of Lord Percy. Rubini's performance was particularly notable, as he was one of the most celebrated tenors of the 19th century, known for his high notes and emotional depth. The role of Smeaton, the musician, was sung by Henriette Laroche, a contralto whose voice added a layer of complexity to the story. Antonio Crippa, a tenor, played Hervey, the court official. The cast was a testament to the high standards of the Teatro Carcano and the confidence of Donizetti in his ability to work with the best singers of the time. The premiere was a triumph, and the cast's performances were so well-received that they helped to establish the opera's reputation. The chemistry between the singers and the composer was evident in every scene, and the result was a performance that would be remembered for generations. The cast's ability to convey the emotional depth of the story was a testament to their skill and to Donizetti's ability to write music that brought out the best in his singers. The premiere was a triumph, and the cast's performances were so well-received that they helped to establish the opera's reputation.
The Mad Scene
One of the most famous scenes in the history of opera, the mad scene in Act 2, Scene 3, is a masterclass in psychological portrayal and musical innovation. In this scene, Anna, now imprisoned in the Tower of London, descends into madness, imagining that it is her wedding day to the king. Donizetti used the theme from the English and American song Home Sweet Home to underscore her longing for her childhood home, a musical choice that added a layer of poignancy to her delirium. The scene is a tour de force for the soprano, requiring a wide range of emotions and vocal techniques to convey Anna's descent into madness. The music shifts from a dreamy, nostalgic melody to a chaotic, fragmented expression of her broken mind. The scene is a testament to Donizetti's ability to use music to tell a story, to convey the inner life of a character in a way that words alone could not. The mad scene has become one of the most famous and frequently performed scenes in the operatic repertoire, a testament to its power and its emotional impact. The scene is a tour de force for the soprano, requiring a wide range of emotions and vocal techniques to convey Anna's descent into madness. The music shifts from a dreamy, nostalgic melody to a chaotic, fragmented expression of her broken mind. The scene is a testament to Donizetti's ability to use music to tell a story, to convey the inner life of a character in a way that words alone could not. The mad scene has become one of the most famous and frequently performed scenes in the operatic repertoire, a testament to its power and its emotional impact.
The Global Journey
After its premiere in Milan, Anna Bolena embarked on a global journey that would take it to the most important opera houses in the world. The opera was first performed in London at the King's Theatre on the 8th of July 1831, and its first US performance was given in French as Anne de Boulen in New Orleans at the Théâtre d'Orléans on the 12th of November 1839. The New York premiere of the opera, and the first Italian presentation of the work in the United States, took place at the Astor Opera House on the 7th of January 1850, with conductor Max Maretzek and Apollonia Bertucca in the title role. It appears to have been presented in Europe, up to 1850, in 25 cities and then again in 1881 in Livorno. After the rise of verismo, it was performed infrequently, but it was revived more frequently after World War II. On the 30th of December 1947, the opera was performed at Gran Teatre del Liceu in Barcelona, to mark that theatre's centennial. In April 1957, the opera was revived at La Scala for Maria Callas, one of the seven performances was recorded, in a lavish production directed by Luchino Visconti. It proved to be one of Callas' greatest triumphs. The opera's journey from Milan to the world was a testament to its enduring appeal and its ability to resonate with audiences across cultures and generations. The opera was first performed in London at the King's Theatre on the 8th of July 1831, and its first US performance was given in French as Anne de Boulen in New Orleans at the Théâtre d'Orléans on the 12th of November 1839. The New York premiere of the opera, and the first Italian presentation of the work in the United States, took place at the Astor Opera House on the 7th of January 1850, with conductor Max Maretzek and Apollonia Bertucca in the title role. It appears to have been presented in Europe, up to 1850, in 25 cities and then again in 1881 in Livorno. After the rise of verismo, it was performed infrequently, but it was revived more frequently after World War II. On the 30th of December 1947, the opera was performed at Gran Teatre del Liceu in Barcelona, to mark that theatre's centennial. In April 1957, the opera was revived at La Scala for Maria Callas, one of the seven performances was recorded, in a lavish production directed by Luchino Visconti. It proved to be one of Callas' greatest triumphs.
The Modern Revivals
In the 20th and 21st centuries, Anna Bolena has experienced a renaissance, with famous sopranos lending their voices to the title role and bringing new life to the work. Beverly Sills earned a considerable degree of fame when she appeared in all three of Donizetti's Tudor operas at the New York City Opera, and she also made studio recordings of all three operas. Anna was one of the last new roles performed by Dame Joan Sutherland, at San Francisco Opera in 1984. The opera has been presented by the Dallas Opera in November 2010, which has also staged Maria Stuarda. The Minnesota Opera presented Anna Bolena as part of the Three Queens trilogy. The Vienna State Opera gave it in the Spring of 2011, with Anna Netrebko in the title role and Elīna Garanča as Giovanna Seymour. New York's Metropolitan Opera mounted it for the first time in September 2011, opening the company's 2011, 2012 season, with Netrebko and with David McVicar directing. Opera Seria UK in Manchester, England, staged Anna Bolena in 2012 as the first in their Tudor Queens trilogy, which continues into 2014. The Welsh National Opera presented the trilogy between September and November 2013, in many different venues in Britain. The Lyric Opera of Chicago also included Anna Bolena in their 2014, 2015 season. Sondra Radvanovsky has sung the title role at several opera houses including the Met in 2015. The opera's modern revivals have been a testament to its enduring appeal and its ability to resonate with audiences across cultures and generations. The opera has been presented by the Dallas Opera in November 2010, which has also staged Maria Stuarda. The Minnesota Opera presented Anna Bolena as part of the Three Queens trilogy. The Vienna State Opera gave it in the Spring of 2011, with Anna Netrebko in the title role and Elīna Garanča as Giovanna Seymour. New York's Metropolitan Opera mounted it for the first time in September 2011, opening the company's 2011, 2012 season, with Netrebko and with David McVicar directing. Opera Seria UK in Manchester, England, staged Anna Bolena in 2012 as the first in their Tudor Queens trilogy, which continues into 2014. The Welsh National Opera presented the trilogy between September and November 2013, in many different venues in Britain. The Lyric Opera of Chicago also included Anna Bolena in their 2014, 2015 season. Sondra Radvanovsky has sung the title role at several opera houses including the Met in 2015.
The Recordings Legacy
The legacy of Anna Bolena is preserved in a series of recordings that span the 20th and 21st centuries, capturing the interpretations of some of the greatest sopranos of the era. The 1957 recording with Maria Callas, Nicola Rossi-Lemeni, Giulietta Simionato, and Gianni Raimondi, conducted by Gianandrea Gavazzeni, is considered one of the most important recordings of the opera. The 1958 recording with Leyla Gencer, Plinio Clabassi, Giulietta Simionato, and Aldo Bertocci, conducted by Gianandrea Gavazzeni, is another landmark recording. The 1965 recording with Leyla Gencer, Carlo Cava, Patricia Johnson, and Juan Oncina, conducted by Gianandrea Gavazzeni, is a live recording from the Glyndebourne Festival. The 1967 recording with Teresa Żylis-Gara, Karl Ridderbusch, Vera Little, and Gene Ferguson, conducted by Alberto Erede, is a studio recording. The 1968/69 recording with Elena Souliotis, Nicolai Ghiaurov, Marilyn Horne, and John Alexander, conducted by Silvio Varviso, is a live recording from the Vienna State Opera. The 1972 recording with Beverly Sills, Paul Plishka, Shirley Verrett, and Stuart Burrows, conducted by Julius Rudel, is a studio recording. The 1975 recording with Renata Scotto, Samuel Ramey, Susanne Marsee, and Stanley Kolk, conducted by Julius Rudel, is a live recording. The 1984 recording with Joan Sutherland, James Morris, Judith Forst, and Michael Myers, conducted by Richard Bonynge, is a live recording from the Canadian Opera Company. The 1987 recording with Dame Joan Sutherland, Samuel Ramey, Susanne Mentzer, and Jerry Hadley, conducted by Richard Bonynge, is a studio recording. The 1994 recording with Edita Gruberova, Stefano Palatchi, Delores Ziegler, and Jose Bros, conducted by Elio Boncompagni, is a studio recording. The 2006 recording with Riccardo Zanellato, Sofia Soloviy, and Gianluca Pasolini, conducted by Fabrizio Maria Carminati, is a live recording from the Teatro Donizetti. The 2011 recording with Anna Netrebko, Ildebrando D'Arcangelo, Elīna Garanča, and Francesco Meli, conducted by Evelino Pidò, is a live recording from the Vienna State Opera. The 2011 recording with Anna Netrebko, Ildar Abdrazakov, Edita Gruberova, and Stephen Costello, conducted by Marco Armiliato, is a live recording from the Metropolitan Opera. These recordings have preserved the legacy of Anna Bolena, capturing the interpretations of some of the greatest sopranos of the era.