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The efficient production by David McVicar keeps the action flowing, with Robert Jones’ bland sets moving in, out, up and down to allow quick scene changes. Jenny Tiramani’s painstakingly created costumes look like authentic 16th century garments.

An attempted “coup de theatre” at the very end seems beside the point _ after Anna exits through her prison doors, the stage sinks to reveal a masked executioner standing above and awaiting her arrival. Then a silky red curtain (suggesting blood?) splashes down across the proscenium.

McVicar is set in future seasons to direct the two other Donizetti operas that make up the so-called “three Tudor queens” trilogy _ “Maria Stuarda” and “Roberto Devereaux.”

Netrebko initially was planning to sing all three but changed her mind. For Anna, this “Anna” is triumph enough.