Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Il barbiere di Siviglia, Glyndebourne Festival Opera at the Proms

For its annual visit to the BBC Proms at the Royal Albert Hall, Glyndebourne brought its new production of Rossini's Il barbiere di Siviglia, an opera which premiered 200 years ago.

Béatrice and Bénédict at Glyndebourne

‘A caprice written with the point of a needle’: so Berlioz described his opera Béatrice and Bénédict, which pares down Shakespeare’s Much Ado About Nothing to its comic quintessence, shorn of the sub-plots, destroyed reputations and near-bloodshed of Shakespeare’s original.

Der fliegende Holländer, Bavarian State Opera

‘This is the way the world ends. Not with a bang but a whimper.’ It is, perhaps, a line quoted too often; yet, even though it may not have been entirely accurate on this occasion, it came to my mind. Its accuracy might be questioned in several respects.

Evergreen Baby in Colorado

Central City Opera celebrated the 60th anniversary of The Ballad of Baby Doe with a hip, canny, multi-faceted new production.

Lean and Mean Tosca in Colorado

Someone forgot to tell Central City Opera that it would be difficult to fit Puccini’s (usually) architecturally large Tosca on their small stage.

Die Walküre, Baden-Baden

A cast worthy of Bayreuth made for an unforgettable Wagnerian experience at the Sommer Festspiele in Baden-Baden.

Des Moines’ Elusive Manon

Loving attention to the highest quality was everywhere evident in Des Moines Metro Opera’s Manon.

Falstaff in Iowa: A Big Fat Hit

Des Moines Metro Opera had (almost) all the laughs in the right places, and certainly had all the right singers in these meaty roles to make for an enjoyable outing with Verdi’s masterpiece

Die Fledermaus, Opera Holland Park

With the thermometers reaching boiling point, there’s no doubt that summer has finally arrived in London. But, the sun seems to have been shining over the large marquee in Holland Park all summer.

Nice, July 14, and then . . .

J.S. Bach’s cerebral Art of the Fugue in Aix, Verdi’s massive Requiem in Orange, Ibn al-Muqaffa’ ‘s fable of the camel, jackal, wolf and crow, Sophocles’ blind Oedipus Rex and the Bible’s triumphant Psalm No. 150 in Aix.

Jette Parker Young Artists Summer Performance

The champagne corks popped at the close of this year’s Jette Parker Young Artists Summer Performance at the Royal Opera House, with Prince Orlofsky’s celebratory toast forming a fitting conclusion to some superb singing.

Prom 2: Boris Godunov, ROH

Bryn Terfel is making a habit of performing Russian patriarchs at the Proms.

Des Moines’ Gluck Sets the Standard

What happens when just everything about an operatic performance goes joyously right?

Des Moines: Jewels in Perfect Settings

Two years ago, the well-established Des Moines Metro Opera experimented with a 2nd Stages program, with performances programmed outside of their home stage at Simpson College.

First Night of the Proms 2016

What to make of the unannounced decision to open this concert with the Marseillaise? I am sure it was well intended, and perhaps should leave it at that.

La Cenerentola, Opera Holland Park

In a fairy-tale, it can sometimes feel as if one is living a dream but on the verge of being awoken to a shock. Such is life in these dark and uncertain days.

Il trionfo del tempo e del disinganno in Aix

The tense, three hour knock-down-drag-out seduction of Beauty by Pleasure consumed our souls in this triumphal evening. Forget Time and Disillusion as destructors, they were the very constructors of the beauty and pleasure found in this miniature oratorio.

Pelleas et Mélisande in Aix

Three parallel universes (before losing count) — the ephemeral Debussy/Maeterlinck masterpiece, the Debussy symphonic tone poem, and the twisted intricacies of a moldy, parochially English country estate.

Siegfried, Opera North

This, alas, was where I had to sign off. A weekend conference on Parsifal (including, on the Saturday, a showing of Hans-Jürgen Syberberg’s Parsifal film) mean that I missed Götterdämmerung, skipping straight to the sequel.

Götterdämmerung, Opera North

The culmination of Opera North’s “Ring for Everyone”, this Götterdämmerung showed the power of the condensed movement so necessary in a staged performance - each gesture of each character was perfectly judged - as well as the visceral power of having Wagner’s huge orchestra on stage as opposed to the pit.

OPERA TODAY ARCHIVES »

Performances

Mary Stuart
02 Mar 2008

Mary, Queen of Scots (Maria Stuarda)

San Diego Opera apparently has raided the vaults of Lincoln Center opera companies, circa the 1970s.

Gaetano Donizetti: Mary, Queen of Scots (Maria Stuarda)

San Diego Opera
24 February 2008

 

The company opened the season with a rebuilt staging of the Metropolitan Opera's Tannhauser production from that era, and for their second production, they figuratively crossed the square for Ming Cho Lee's sets for Donizetti's Maria Stuarda (which San Diego Opera insists on calling Mary, Queen of Scots). The San Diego audience audibly appreciates a decent traditional staging, and even though Ming Cho Lee basically dressed up a spare uni-set with just a shift of platform here and a moody back drop there, the curtain for act one, scene two (after the first of two intermissions) drew a round of applause from the audience. The three scenes of act two came after the second intermission, and each necessitated the dropping of the curtain for a scene change, letting at least some of the drama evaporate. Perhaps a lighting cue would get the audience to shush before the conductor (the reliable Edoardo Müller) brought down his baton to resume the music.

Quibbles aside, San Diego Opera deserves an opera lover's gratitude for putting on Donizetti's historically corrupt but very entertaining spin on the sad fate of Mary. Admittedly, the opera's structure lacks a compelling narrative drive. In the first scene, Elizabeth the queen gives into the request of the Earl of Leicester to meet the imprisoned Mary, only because the Queen is smitten with the Earl. In scene two, Mary exults at a brief taste of freedom in the assigned meeting place. However, her pride will not let her humble herself before Elizabeth, and in one of opera's surprisingly rare cat fights, curses are soon flying through the air between the two ladies. This seals Mary's fate, of course, but the long second act drags it out unmercifully, although when the final scene finally takes the audience to the execution chamber, the opera's best music follows.

Kate Aldrich as Elizabeth started the show gunning her engines, and if her character didn't disappear after the first scene of act two, might have totally eclipsed Angela Gilbert's Mary. Aldrich sang out with vehement gusto, easily encompassing the role's vocal range. She had the fire for the confrontation scene and the dejected regret when she realizes the man she loves is in love with Mary. Gilbert took a while to warm up. Her chief vocal strength is her top, which she can float quite beautifully. But it is more of a technical feat than an artistic one, and the middle of the voice too often dropped under the orchestral fabric. That being said, Gilbert hit her stride in the long final scene, finding just enough color to hold the audience though the rather anti-climatic set pieces.

Reinhard Hagen's sturdy bass worked well in making a sympathetic Talbot, who tries to support Mary in her suffering. Andrew Greenan, as the "bad guy" Lord Cecil, urged on the audience's boos at curtain, knowing well that they indicated the success of his performance. In the tenor role of the Earl of Leicester, Yegishe Manucharyan pushed his attractive lyric voice to meet the occasionally forceful demands of Donizetti's writing, with intermittent success. A vertically challenged tenor in the classic mode, Manucharyan as costumed often looked as if he were the adolescent prey of two middle-aged female predators.

Word is that at the Metropolitan Opera, Peter Gelb has plans to revive not only this opera but the other two in Donizetti's "Three Queens" trio. After the rapturous applause that followed this San Diego performance of Mary, Queen of Scots, perhaps General Manager Ian Campbell will consider beating the Met to the punch.

Chris Mullins

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):