I puritani

I puritani
  • Lord Arturo Talbo - tenor
  • Elvira, betrothed to Arturo - soprano
  • Sir Riccardo Forth, the Puritan leader in love with Elvira - baritone
  • Sir Giorgio Valton, Elvira's uncle - bass
  • Lord Gualtiero Valton, Elvira's father and Giorgio's brother - bass
  • Sir Bruno Robertson - tenor
  • Enrichetta di Francia, widow of Charles I - mezzo-soprano
  • Soldiers, heralds, armigers, Puritans, lords and ladies, pages, servants

Stage director: Alfonso Romero Mora
Set designer: Corina Krisztian
Costume designer: Rosa Garcia Andújar
Lighting designers: to be define

Lord Arturo Talbot: tenor
Elvira: soprano
Sir Riccardo Forth: barione
Sir Giorgio Valton: Bass
Lord Gualtiero Valton: Bass
Enrichetta di Francia: mezzo-soprano
Sir Bruno Robertson: tenor

Choir: around 62  singers
Extras: 4 men

Originally, the opera is set around 1650, in a castle located outside Plymouth, England.


A fortress near Plymouth, commanded by Lord Gualtiero Valton At daybreak, the Puritan soldiers anticipate victory over the Royalists. Riccardo had been promised Elvira's hand in marriage by Lord Valton but, returning to Plymouth, he finds that she is in love with Arturo (a Royalist), and will marry him instead. He confides in Bruno ("Ah! Per sempre ... Bel sogno beato"). In Elvira's apartments, Giorgio reveals that it was he who persuaded Lord Valton to grant Elvira's wish. She is overjoyed. Arturo arrives for the wedding and celebrates his new-found happiness ("A te, o cara"). Valton is to take a mysterious lady (suspected of being a Royalist spy) to appear before Parliament. Arturo discovers that she is Enrichetta (Henrietta Maria), widow of the executed King Charles I. Elvira appears singing a joyful polonaise ("Son vergin vezzosa"), but drops her wedding veil as she departs to make ready for the wedding. Arturo uses the veil to disguise Enrichetta as Elvira and so enabling her to escape. On the way, they encounter Riccardo and, when he discovers that the woman with Arturo is not Elvira, he is content to let them pass. When the escape is discovered, Elvira believes herself deserted and loses her reason ("Oh, vieni al tempio, fedele Arturo").


Another part of the fortress Giorgio describes Elvira's madness ("Cinta di fiori"). Riccardo brings the news that Arturo is now a fugitive who has been condemned to death for allowing Enrichetta to escape. Elvira now appears, still deranged but longing for Arturo ("Qui la voce ...Vien, diletto"). Giorgio and Riccardo argue over whether Arturo's death will mean that Elvira will die of grief, but eventually agree that he must die if he is found fighting for the Royalists in the impending battle ("Il rival salvar tu dei ... Suoni la tromba").

Act 3

The countryside near the fortress, three months later Arturo is still on the run, but has returned to see Elvira. He hears her singing ("A una fonte afflitto e solo") and they are reunited ("Vieni fra le mie braccie"). But Elvira fears that they will again be parted, and when Riccardo arrives, with Giorgio and the soldiers, to announce Arturo's death sentence, she finally comes to her senses. An ensemble ("Credeasi, misera") develops, during which the unusually high note of an F above high C exceeding the written high D flat is traditionally sung by Arturo, and even Riccardo is moved by the plight of the lovers. The soldiers demand Arturo's execution, but word is brought that, although the Royalists have been defeated, Oliver Cromwell has pardoned all prisoners. The lovers are finally united for good.


  • Ideal stage dimensions: 22 m width for 18m depth
  • The stage area must always be free of any elements in fly space and on stage
  • The plan of the stage rigs must be available
  • Possibility to fasten screws
  • The set design requires tying up and hanging


  • Set design and costumes are transported in 3 trailers
  • Set design and costumes take up a space of approximately 3,200 cubic feet

“The new co-production by Amigos de la Ópera de A Coruña and Darmstardt’s Opera, signed by Alfonso Romero, sets the action on a trench during World War I at a unique, functional, and attractive set design by Corina Krisztian-Klenk, thanks also to the help of the incredibly magnificent and expressive lighting by David P. Merino and Santiago Mañasco…”(…) “… [it] is visually attractive, and the idea is not so far-fetched, featuring several authentic moments – Arturo’s return from war in ‘A te o cara’, when he comes back not as a hero, but dirty, wounded, and exhausted; or the moment in which Elvira is beset by madness and throws the improvised altar to the floor, but soon later she stands the cross up again…” (…) “Maybe the most interesting feature of this production is the solution with no “happy ending” — in this case, Elvira’s senses are not completely restored, and over a frozen scene tainted by a violet light she imagines Arturo’s amnesty, only seconds before both of them, embracing each other, are executed by a firing squad. A bull’s-eye that gives some consistency to the story.”

Hugo Álvarez Domínguez, Mundoclasico, December 16th 2009