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

Guillaume Tell, Covent Garden

It is twenty-three years since Rossini’s opera of cultural oppression, inspiring heroism and tender pathos was last seen on the Covent Garden stage, but this eagerly awaited new production of Guillaume Tell by Italian director Damiano Micheletto will be remembered more for the audience outrage and vociferous mid-performance booing that it provoked — the most persistent and strident that I have heard in this house — than for its dramatic, visual or musical impact.

Aida, Opera Holland Park

With its outrageous staging demands, you sometimes wonder why opera companies want to produce Verdi’s Aida. But the piece is about far more than pharaohs, pyramids and camels.

Death in Venice, Garsington Opera

Given the enduring resonance and impact of the magnificent visual aesthetic of Visconti’s 1971 film of Thomas Mann’s novella, opera directors might be forgiven for concluding that Britten’s Death in Venice does not warrant experimentation with period and design, and for playing safe with Edwardian elegance, sweeping Venetian vistas and stylised seascapes.

La Rondine Swoops Into St. Louis

If La Rondine (The Swallow) is a less-admired work than rest of the mature Puccini canon, you wouldn’t have known it by the lavish production now lovingly staged by Opera Theatre of Saint Louis.

Emmeline a Stunner in Saint Louis

Few companies have championed new or neglected works quite as fervently and consistently as the industrious Opera Theatre of Saint Louis.

Luminous Handel in Saint Louis

For Opera Theatre of Saint Louis, “everything old is new again.”

Two Women in San Francisco

Why would an American opera company devote its resources to the premiere of an opera by an Italian composer? Furthermore a parochially Italian story?

Les Troyens in San Francisco

Berlioz’ Les Troyens is in two massive parts — La prise de Troy and Troyens à Carthage.

Dog Days at REDCAT

On Saturday evening June 13, 2015, Los Angeles Opera presented Dog Days, a new opera with music by David T. Little and a text by Royce Vavrek. In the opera adopted from a story of the same name by Judy Budnitz, thirteen-year-old Lisa tells of her family’s mental and physical disintegration resulting from the ravages of a horrendous war.

Opera Las Vegas Presents Exquisite Madama Butterfly

Audiences at the Teatro alla Scala in Milan first saw Madama Butterfly on February 17, 1904. It was not the success it is these days, and Puccini revised it before its scheduled performances in Brescia.

Yardbird, Philadelphia

Opera Philadelphia is a very well-managed opera company with a great vision. Every year it presents a number of well-known “warhorse” operas, usually in the venerable Academy of Music, and a few more adventurous productions, usually in a chamber opera format suited to the smaller Pearlman Theater.

Giovanni Paisiello: Il Barbiere di Siviglia

Written in 1783, Giovanni Paisiello’s Il Barbiere di Siviglia reigned for three decades as one of Europe’s most popular operas, before being overshadowed forever by Rossini’s classic work.

Princeton Festival: Le Nozze di Figaro

The Princeton Festival has established a reputation for high-quality summer opera. In recent years works by Handel, Britten, Rachmaninoff, Stravinsky, Wagner and Gershwin have been performed at Matthews Theater on Princeton University campus: a 1100-seat auditorium with good sight-lines though a somewhat dry and uneven acoustic.

Die Entführung aus dem Serail,
Glyndebourne

Die Entführung aus dem Serail was Mozart’s first great public success in Vienna, and it became the composer’s most oft performed opera during his lifetime.

German Lieder Is Given a Dramatic Twist by The Ensemble for the Romantic Century

The Ensemble for the Romantic Century offered a thoughtful and well-curated evening in their production of The Sorrows of Young Werther, which is part theatrical performance and part art song concert.

Hans Werner Henze: Ein Landarzt and Phaedra

This was an adventurous double bill of two ‘quasi-operas’ by Hans Werner Henze, performed by young singers who are studying on the postgraduate Opera Course at the Guildhall School of Music and Drama.

Dido and Aeneas, Spitalfields Festival

High brick walls, a cavernous space, entered via a narrow passage just off a London thoroughfare: Village Underground in Shoreditch is probably not that far removed from the venue in which Henry Purcell’s Dido and Aeneas was first performed — whether that was Josiah Priest’s girl’s school in Chelsea or the court of Charles II or James II.

Intermezzo, Garsington Opera

Hats off to Garsington for championing once again some criminally neglected Strauss. I overheard someone there opine, ‘Of course, you can understand why it isn’t done very often.’

Cosi fan tutte, Garsington Opera

Mozart and Da Ponte’s Cosi fan tutte provides little in the way of background or back story for the plot, thus allowing directors to set the piece in a variety settings.

The Queen of Spades, ENO

Based on a play, Chrysomania (The Passion for Money), by the Russian playwright Prince Alexander Shokhovskoy, Pushkin’s short story The Queen of Spades is, in the words of one literary critic, ‘a sardonic commentary on the human condition’.

OPERA TODAY ARCHIVES »

Reviews

Gaetano Donizetti: Maria Stuarda
11 Oct 2009

Donizetti's Maria Stuarda at the Sferisterio Festival

A number of performances from the Sferisterio Opera Festival have been released in recent months.

Gaetano Donizetti: Maria Stuarda

Elisabetta: Laura Polverelli; Maria Stuarda: Maria Pia Piscitelli; Anna Kennedy: Giovanna Lanza; Roberto: Roberto De Biasio; Talbot: Simone Alberghini; Cecil: Mario Cassi. Coro Lirico Marchigiano 'V. Bellini'. Marchigiana Philharmonic Orchestra (FORM). Riccardo Frizza, conductor. Pier Luigi Pizzi, stage director, set and costume design. Sergio Rossi, lighting design. Recorded during the Sferisterio Opera Festival, Macerata, Italy, 3 August 2007.

Naxos 2.110268 [DVD]

$29.49  Click to buy

A summer event, the festival setting, a classic amphitheater, can be seen under the opening credits of this DVD. This brief segment sets the mood for a good opera evening, as the crowd settles to view the action on the long, relatively narrow stage. Pier Luigi Pizzi directed an atmospheric Macbeth for the festival (search the archives for the review here). The same design principles that enhanced that Verdi opera do not work as effectively for Donizetti’s Maria Stuarda. Once again, there are ramps, staired pedestals, a pitch black background, and simple, spare props. Costumes are heavy and detailed, with so much fabric in the ladies’ gowns that some produce annoying rustles with the slightest movement. Pizzi, who designed sets and costumes besides directing, must have decided he’d get more “budget bang” out of how he dressed his singers than in where he placed the action. Here he strands his performers in unatmospheric, dark surroundings, making the already sketchy drama seem portentous as well.

The weak structure of Maria Stuarda doesn’t help matters. Act one takes about 30 minutes to set up Elisabetta’s hatred of Maria Stuarda, not for political/religious reasons but because Elisabetta feels that Maria stole the Queen’s man, the Earl of Leicester. Maria only enters her eponymous opera in act two, where she is begged to tamp down her temper when Elizabeth visits, in hopes of a reprieve from her death sentence. But in the scene that keeps this opera alive, Elisabetta and Maria tear into each other with claw and fang. Understandably condemned, Maria then spends act three, after a futile attempt to change Elisabetta’s mind, exhibiting tragic nobility as she awaits her fate beneath the ax. The great choral number at the end serves as the audience’s reward for enduring Maria’s protracted leave-taking.

In a recent La Scala production on DVD, Anna Caterina Antonacci as Elisabetta and Mariella Devia as Maria put on a master class of vocal technique and committed acting. This Sferisterio production suffers from lacking a potent Elisabetta. Laura Polverelli scowls appropriately, and Pizzi certainly employed his skills to make her both as regal and as unattractive as possible. But Polverelli sings monotonously, with little color or insightful inflection. Maria Pia Piscitelli fares better as Maria, especially in the final scenes. As an actress she doesn’t possess much range, but her instrument at least can meet Donizetti’s challenges and retain some degree of appeal. She is thoroughly adequate, as are Roberto De Biasio as Leicester and Simone Alberghini as Talbot.

Ricardo Frizza and the Orchestra Filarmonia a Marchigiana play crisply, though not with immaculate tuning. Though the Naxos booklet comes only in English, it deserves praise for offering a full track listing, credits, essay, synopsis, photographs and artist biographies. Many booklets from larger companies don’t offer all that. Still, for Maria Stuarda on DVD, go for the La Scala.

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):