Mary Stuart (Maria Stuarda)
Gaetano Donizetti
(1834)
New production
 
One of Donizetti’s most dramatic and affecting works, Maria Stuarda charts fact and fictional events leading to Mary Queen of Scots execution. Donizetti originally courted controversy by addressing such powerful material and the opera was initially banned.

Two exceptional singers return to Opera North, Sarah Connolly to sing Mary Queen of Scots (Romeo in I Capuleti e i Montecchi, Autumn 2008) and Antonia Cifrone sings  Elizabeth I (Lady Macbeth, Macbeth, Spring 2008). Both will bring charisma and drama to the lead roles of this bel canto opera.

The centrepiece of this opera is the fictional confrontation between Mary Stuart, the Catholic Queen of Scotland, and the Protestant Queen Elizabeth I. The opera builds to the moment of conflict when political, religious and romantic tensions simmer over, resulting in Mary's condemnation and eventual execution. The opera is recognised as one of Donizetti's most persuasive and powerful scores and culminates in an exceptionally affecting final scene.

Antony McDonald is well known at Opera North for his set designs and will make his directorial debut with this production, joined by the widely travelled conductor Guido Johannes Rumstadt.

Sung in Italian with English titles
Lasts approximately 2 hours 30 minutes

"Connolly’s Mary is so memorably characterised that she dominates even the scenes where she is sadistically humiliated by her arch rival. She is a vulnerable, gentle spirit haunted (literally, in this staging) by visions of her murdered hubby. But she musters heroic spirit to seize the riding crop from Elizabeth in their epic confrontation and spit out her majestic but suicidal stream of invective...It’s as if everything hangs on this one flash of rage, tremendously delivered. Although Connolly had a throat infection, she sang throughout with intensity, especially in Mary’s heartbreaking prayer before facing her executioner." Richard Morrison, The Times 4*

Read the full article here.

"In his exquisite staging for Opera North, Antony McDonald takes us as far as possible from history without banishing it altogether. There are occasional hints of Tudor ruffs and tunics, but in the main we are watching an imaginary early 19th-century drama that spills over, in the mid-20th-century suits of the courtiers, to a world not so different from our own. It’s subtly done, so that our attention is focused less on period manners and vocal pirouettes, more on the timeless play of personalities and politics...It’s another of Opera North’s strong company performances, stylishly conducted by Guido Johannes Rumstadt." Andrew Clark, Financial Times

Read the full article here.

"...(Sarah Connolly's) customary musicality was radiantly in evidence: she is an artist incapable of singing a broken or ugly phrase, and her ornamentation was exquisite. She looked wonderful, too, and presented Mary’s fatal impulsiveness with an empathy that stopped short of sentimentalising this enchanting but infuriating character." Rupert Christiansen, The Daily Telegraph 3*

Read the full article here.

A variety of free pre-show talks accompany this opera.  Book in advance at the box office for the following venues:

The Grand Theatre Leeds

The Lowry Salford Quays

Theatre Royal Newcastle

Theatre Royal Nottingham

Free download of Da Tutti Abbandonata (Forsaken by everyone)

Download your own copy of Joan Sutherland performing Mary’s impassioned aria* ‘…my heart can hope no more. I have been condemned to tears…’  From the Decca recording in Italian, Maria Stuarda 425 410-2.  Sign up here to join Opera North and Decca’s e-newsletter to receive the track.

*The download is 4 minutes 52 seconds (6817 KB).
 

Recommended CD recordings

In Italian:
Joan Sutherland – Mary Stuart
Huguette Tourangeau – Elizabeth I
Luciano Pavarotti – Leicester
Coro e Orchestra del Teatro Comunale di Bologna
Richard Bonynge – conductor
Decca 425 4102, 2 CDs, mid-price, Italian libretto with English translation 
 
In English:
Janet Baker – Mary Stuart
Rosalind Plowright – Elizabeth I
David Rendall – Leicester
Chorus and Orchestra of English National Opera
Charles Mackerras – conductor
Chandos CHAN 3017(2), 2CDs, mid-price, English libretto

Antony McDonald (Director)

What attracts you to the opera?
Well it’s a fascinating subject based on Schiller’s play about the fictional meeting of these two amazingly powerful women in history. Although inspired by historical events it’s not actually a naturalistic or realistic opera, and the whole thing has a heightened feel which makes it very compelling. I also find the aspect of sibling rivalry intriguing, as the competition between these close relatives adds an unusual dimension to the power struggle between them. Both Mary and Elizabeth find themselves in particularly difficult political situations, but they deal with them in very different ways. Mary is much more emotional than Elizabeth, or at least she finds it harder to conceal her emotions. In a way she’s more like Diana Spencer - someone who was charming, attractive, charismatic and inspired loyalty. Elizabeth’s character is much more pragmatic and political. I think this must have gone back to their very different childhoods - Mary’s was blissful whereas Elizabeth was absolutely the opposite.

You’re designing as well as directing the opera. Can you tell us a little about the set?
I want to create a very clean and new approach to the opera, rather like the feeling you get when you look at an old panting that’s been cleaned and find something new and fresh. The opera is normally done in a very dark, Elizabethan way, but I wanted to bring out something different. Although based on history, the opera is really quite a fantasy and it’s through designing the set, as well as directing, that I really get under the skin of the piece.

Two great singers, Sarah Connolly and Antonia Cifrone, are taking on the main roles. What do you think they’ll bring to the piece?
I’m very much looking forward to working with them both. As well as being fantastic singers they’ll both bring a real intelligence to their roles. Although I’ve read a lot about Mary and Elizabeth I’m sure that when we start rehearsing we’ll create our own characters inspired by Donizetti’s musical portraits of them. It’s a very Catholic view really - the music exposes Elizabeth as a very hard woman where as Mary is much more sympathetically depicted, for example in the amazing final scene where she’s praying before her execution. There’s also the love triangle to explore between the two women and Lord Leicester. Leicester is portrayed as a romantic hero, careless and wild - almost Byronic.

Why should people come and see this opera?
It’s a famous vehicle for two great singers, an interesting historical subject and the piece is very moving indeed. Mary is a classic victim in history, rather like Marie Antoinette. The piece is a great tragedy, for Mary but also for Elizabeth too, as she has to kill her own cousin. In fact, it’s still a great conspiracy theory as no-one knows whether Mary ever really did plot against Elizabeth. The letters that seem to prove her guilt could well be fakes.

Act 1

In Westminster Palace, the arrival of Queen Elizabeth (Elisabetta) is eagerly anticipated. It is rumoured that she intends to unite England and France through marriage. Elizabeth doubts the constancy of Leicester, her favourite, and is upset when he asks her to grant an audience to her cousin, Mary (Maria) Queen of Scots, a prisoner at Fotheringay.
 

Act 2

Leicester rides to Fotheringay, where he helps prepare Mary for her meeting with the queen. Elizabeth makes no secret of her hatred for her cousin, who in turn spits abuse at the queen. Mary is duly condemned to death.
 

Act 3

The queen debates the wisdom of signing the death warrant but is encouraged to do so by Cecil. Leicester arrives only to be told he is to witness Mary’s execution. Mary receives her warrant without emotion, but turns to Talbot and confesses her sins. She begs her friends to pray for those who have done her wrong and, with Leicester looking on; she is taken to her death.

• Mary Stuart pre-show talk

  (Lasts approximately 17 minutes)

  Chorus Master Tim Burke gives his insight and experience of Donizetti Mary Stuart, in this special introduction to his pre-show talk, on between 6.30pm - 7.00pm before each performance.

• More about Mary

  (Lasts approximately 19 mins 27 secs)

  An indepth conversation with Sarah Connolly who embodies her character Mary Stuart.

• Mary Stuart - Mary/Elizabeth 'confrontation' duet, Decca

  (Lasts approximately 30 secs)

• Mary Stuart - 'Listen to our humble prayer', Decca

  (Lasts approximately 30 secs)

• Mary Stuart - Leicester/Talbot duet, Decca

  (Lasts approximately 30 secs)

• Mary Stuart - 'When the day casts its rosy splendour', Decca

  (Lasts approximately 30 secs)

• Audience Reactions

  

  Find out what people are saying about the production...

• The transformation of Antonia Cifrone in to Queen Elizabeth 1