Given the rapturous applause at last night’s performance of Roberto Devereux, not to mention the cheers of bravi throughout the evening, it is hard to believe that operas by the likes of Donizetti, Rossini and Bellini fell out of favour in the late 19th century.

Were it not for Maria Callas in the mid-20th century, followed by Montserrat Caballé, Joan Sutherland and Beverly Sills, who famously sang all three of Donizetti’s Tudor queens at the New York City Opera, the bel canto revival may never have happened.

Had it not, we might have been denied last night’s stunning performance by Italian-born soprano Roberta Mantegna, who proves she is more than capable of following in the footsteps of those great divas.

Roberto Devereaux. Photo © Opera Australia

As Elisabetta (Elizabeth I) she is all fire and ice, thrilling with an extraordinary passaggio that allows her to plumb the depths of her wonderfully rich lower register before soaring to stratospheric heights with remarkable accuracy.

In true bel canto style, she vocally matches the histrionics of the Queen of England, running the gamut from tender expressions of love to wild jealousy, vengeful rage and ultimately heartbreak.

Mantegna...