While the history may be dubious, the dramatic impact of Donizetti’s trio of operas focusing on The Tudors is not to be denied. Unable to be present for Thursday’s performance of Maria Stuarda, which features a bust-up between two queens who in real life never met, I felt privileged to join in the rapturous reception for the two other operas, drably staged though they were.

Wednesday’s Anna Bolena and Roberto Devereux on Friday both benefited hugely from the presence in the pit of the young Italian Daniele Rustioni. His athletic approach coaxed thrilling performances from orchestra and singers, while simultaneously creating a warm rapport with the audience, as during Friday’s fizzing overture when he turned beaming to the stalls at the start of a cheeky lift from God Save the Queen. In truth, others needed saving from the terrifying Elizabeth I (Alexandra Deshorties, in superb voice), in particular Devereux (lyric tenor Leonardo Capalbo) who paid the ultimate price for his dalliance with Bess’s rival Sara (Leah-Marian Jones).

On Wednesday Elizabeth’s mother was centre stage as we saw Anne Boleyn (Serena Farnocchia) ousted from the affections of Henry VIII (Alastair Miles) by Jane Seymour (Katharine Goeldner), leading to a mad scene of full Donizettian force.