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 Reviews

Poliuto, Glyndebourne

Donizetti’s Poliuto at Glyndebourne could well become one of of the great Glyndebourne classics.

Carmen by ENO

Dystopic vision of Carmen, brought to life by vibrantly gripping performances

Pacific Opera Project Presents Ariadne auf Naxos

Pacific Opera Project, a small Los Angeles company, presented a production of Richard Strauss's Ariadne auf Naxos at the Ebell Club with an excellent group of young singers at the beginning of what should be good careers.

Varispeed pushes the possibilities of opera forward with Robert Ashley’s Crash

Six people, dressed in ordinary clothing, sitting in a row at desks adorned only with microphones and glasses of water, and talking for ninety minutes: is it opera?

Rising Stars in Concert, Lyric Opera of Chicago

The spring concert of Rising Stars in Concert, sponsored by and featuring current members of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago, showcased a number of talents that will no doubt continue to grace the stages of the world’s operatic theaters.

The Singers Sparkle in New York Opera Exchange’s Carmen

New York Opera Exchange’s production of Carmen from May 8th to 10th highlighted that which opera devotees have been saying for years: Opera, far from being dead, is vibrant and evolving.

‘Where’er You Walk’: Handel’s Favourite Tenor

I have sometimes lamented the preference of Ian Page’s Classical Opera for concert performances and recordings over staged productions, albeit that their renditions of eighteenth-century operas and vocal works are unfailingly stylish, illuminating and supported by worthy research.

The Pirates of Penzance, ENO

Topsy Turvy, Mike Leigh’s 1999 film starring Timothy Spall and Jim Broadbent, dramatized the fraught working relationship of William Gilbert and Arthur Sullivan; it won four Oscar nominations (garnering two Academy Awards, for costume and make-up) and is a wonderful exploration of the creative process of bringing a theatrical work to life.

Manitoba Opera: Turandot

There’s little doubt that Puccini’s Turandot is a flawed, illogical fairytale. Yet it continues to resonate today with its undying “love shall conquer all” ethos, where even the most heinous crimes may be forgiven by that which makes the world go ‘round.

Mariachi Opera El Pasado Nunca se Termina Comes to San Diego

On April 25, 2015, San Diego Opera presented it’s second Mariachi opera: El Pasado Nunca se Termina (The Past is Never Finished) by Jose “Pepe” Martinez, Leonard Foglia and Mariachi Vargas de Tecalitlán.

Antonio Pappano: Royal Opera House Orchestral Concerts

Ambition achieved! Antonio Pappano brought the Orchestra of the Royal Opera House out of the pit and onto the stage, the centre of attention in their own right.

Bedřich Smetana: Dalibor, Barbican Hall

Jiří Bělohlávek’s annual Czech opera series at the Barbican, London, with the BBC SO continued with Bedřich Smetana’s Dalibor.

Orlando Explores Art Without Boundaries

R.B. Schlather’s production of Handel’s Orlando asks the enigmatic question: Where do the boundaries of performance art begin, and where do they end?

The Virtues of Things

A good number of recent shorter operas, particularly those performed in this country, made a stronger impression with their libretti than their scores.

Król Roger, Royal Opera

It has taken almost 89 years for Karol Szymanowski’s Król Roger to reach the stage of Covent Garden.

San Diego Opera Celebrates 50 Years of Great Singing

San Diego Opera, the company that General Manager Ian Campbell had scheduled for demolition, proved that it is alive and singing as beautifully as ever. Its 2015 season was cut back slightly and management has become a bit leaner, but the company celebrated its fiftieth season in fine style with a concert that included many of the greatest arias ever written.

Hercules vs Vampires: Film Becomes Opera!

In the early sixties, Italian film director Mario Bava was making pictures with male body builders whose well oiled physiques appeared spectacular on the screen.

Green: Mélodies françaises sur des poèmes de Verlaine

Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and twentieth-century France

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

OPERA TODAY ARCHIVES »

Reviews

Mary Queen of Scots
29 Apr 2009

Donizetti’s “Maria Stuarda” at La Fenice — Two Women in a Labyrinth

From the word “go”, the audience feels that this “Maria Stuarda” is quite different from the standard fare offered by Italian theatres.

Gaetano Donizetti: Maria Stuarda

Elisabetta: Sonia Ganassi; Maria Stuarda: Fiorenza Cedolins; Roberto, Earl of Leicester: José Bros; Giorgio Talbot: Mirco Palazzi, Federico Sacchi (26, 29/4, 2/5); Lord Guglielmo: Cecil Marco Caria; Anna Kennedy: Pervin Chakar. Fabrizio Maria Carminati, conductor. Denis Krief, stage direction, sets and costumes. Orchestra and Chorus of Teatro La Fenice. Chorus Master Claudio Marino Moretti.

Above: Mary Queen of Scots

 

There are no cardboard Elizabethan “magnificent” halls and throne rooms; neither Piranesi’s grand jails in a bleak London Tower in the “finale”; neither a thick forest for the Royal hunt in the last scene of the first part. On the stage there is only a maze — indeed a labyrinth in granite where a fight is being fought by two tormented women in love for the same man — and also starving for the crown of Britain. The costumes have nothing to do with the XVI century; they are quite elegant but in a style closer to the high fashion of the 1950s (or slightly earlier) than to those of the historical period when the contest of the two Queens for the British crown actually took place. The plot develops today — somewhere in some country — but could have taken place even a few years ago or tomorrow. It is a perennial struggle in a-temporal setting and costumes.

A few conservative critics raised their eyebrows, but on April 24th — the opening night of this new production- La Fenice audience, not necessarily the cream of most advanced experimentalism in stage direction, loved it: the performance received a standing ovation. The just unveiled new production by Denis Krief , an Italian-based French-Tunisian director, is especially important because it is a joint effort with other major Opera Houses — Teatro Verdi in Trieste, San Carlo in Naples, Massimo in Palermo — where it will be shown starting next Fall. Krief is French-Tunisian but raised , as a stage Director, in Italy. However, the set, costumes and direction reflect the best experience of modern German opera production: Krief himself is a frequent guest director in the Federal Republic where he recently produced a successful “Ring”.

“Maria Stuarda” is the most frequently performed opera of the Donizetti’s trilogy about the Tudor Queens. The other two are “Anna Bolena” and “Roberto Devereux”. To be meticulous, the reviewer should include also “Elisabetta al Castello di Keniworth”, seldom seen on a stage and a “semi-seria opera” with a happy ending, quite distant from the tragedy atmosphere of the other three. In Anders Wiklund’s critical edition of the score, “Maria Stuarda” is compact (about two hours of music as compared to nearly three of “Anna Bolena” and “Roberto Devereux) and emphasizes the confrontation between the two Queens over the man each of them is longing for rather than the historical power struggle. As a matter of fact, Schiller’s play (the basis for the libretto) takes little notice of historical facts: Mary was 45 when she died (after 8 years in prison) and Elisabeth 53 (and had never been a beauty). Neither the Earl of Leicester appears to have been such a good looking fellow to cause such a bloody fight by two Queens. Wiklund’s edition emphasizes the sentimental and erotic tension rather than the politics surrounding it — key ingredient of the manipulated versions seen both until the mid-XIX century (when “Maria Stuarda” disappeared from the stages of the world) and from 1958 (revival in Bergamo) to the 1990s (a period when it was a war horse of Beverly Sills, Leyla Gencer, Edita Gruberova, Monsterrat Caballé and Joan Sutherland). This is, in my view, a justification for the labyrinth: it was a key element both in many a Shakespeare’s plays (as well as of gardening in that period) and quite a few Schiller’s plays.

Maria-Stuarda-1.gif

As in many Donizetti’s opera, orchestration is rather simple; it is meant to support vocal acrobatics by the main singers. Fabrizio Maria Carminati is well aware of it and his conducting is diligent and effective. The attention is to the two protagonist. Elisabeth must be a “mezzo spinto” with an excellent flare for ascending to acute; Sonia Ganassi is veteran of the role (there are some excellent recording) and on April 24 gave an extraordinary performance — both vocally and dramatically- especially if account is taken that, at the age of 43, Ms. Ganassi is five month pregnant of her first child. Maria is a “soprano assoluto” with coloratura arias sliding into declamation and vice versa. For Fiorenza Cedolins April 24 was the night of the debut of in the role. There was some trepidation that she would not have been able to cope with the highly difficult score; as a matter of fact, in her career she had started with coloratura but had then gone to “verismo” (Tosca, Butterfly), not the most effective way to prepare oneself sing a “soprano assoluto” with coloratura , as required by “Maria Stuarda”: some imperfection in the first part but standing ovation in the jail-confession scene of the second part and in the finale. José Bros has sang Leicester may times. Normally this good tenor with a high texture is good vocally but on the stage is a sexy as an umbrella. Miraculously, Krief makes him very sensual. With both Queens.

Giuseppe Pennisi

Maria-Stuarda-3.gif

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):