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Is Roberto Devereux the finest of Donizetti's four Tudor operas? Stephen Langridge's stylish, stylised production and a wonderful cast under Riccardo Frizza make a great case for it. 

Angela Brower steals the crown in the final instalment of Jetske Mijnssen’s Donizetti trilogy with a voice of apparently limitless emotional range. 

Angela Meade fills in for an indisposed soprano in Los Angeles Opera’s company debut of Donizetti’s Roberto Devereux.

It is a thing of wonder that Roberto Devereux is one of Donizetti’s lesser known works. Whether on account of its challenging soprano part, or its fussy Tudor setting, it is rarely performed, but contains some of the composer’s most beautiful – and indeed memorable – arias and duets.

Sondra Radvanovsky tackles another Donizetti queen - Elisabetta in Roberto Devereux - at The Met. 

In the opening night of Teatro Real's new season, Mariella Devia proved why she is one of the best bel canto singers of the last decades.

Christof Loy's modern-dress production of Donizetti's Roberto Devereux for the Bayerische Staatsoper is deliciously, darkly ironic. A dream cast handles the dramatic and musical challenges well, though the voice of the star sounds worn for this star vehicle.

With smart direction, elegant design, and vocal fireworks, the Canadian Opera Company's Roberto Devereux offers a complex portrait of a much-loved historical figure.

Considering the number of operas he set in Britain, Donizetti was surprisingly unfamiliar with the place – Emilia di Liverpool famously has characters, one of whom is the long lost “Count of Liverpool”, stopping off there on their way from London to Oxford.