Mary Stuart - Edmonton Opera

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AFamilyDivided TheBelCantoTradition
TenseStartforMaryStuart EdmontonOpera’sMaryStuart
MusicalExcerpts
FurtherStudy
Contents
Characters Overview&Synopsis
ComposerBiography
HistoricalCharacters
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EducationGuidematerialssourcedandadapted
fromPacificOperaVictoriaStudyGuideforMaria
Stuarda,April2012.
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PhotoCredit:DavidCooperforPacificOperaVictoria’sMary
Stuart,April2012
Characters
Leicester—Tenor
RobertDudley,Elizabeth’sclosepersonalfriend.Thoughhe
isloyaltotheQueen,heismesmerizedbyMary’sbeauty
andasksElizabethtobelenienttowardsher.
AnnaKennedy—Mezzo-soprano
MaryStuart’slady-in-waiting
MaryStuart—Soprano
QueenofScots,livinginexileinEngland.Sheisheld
prisonerbyElizabeth.
(inorderofvocalappearance)
Elizabeth—Soprano
QueenofEngland,cousintoMaryStuart.Conflicted
betweenfamily,love,andherdutytogoverneffectively.
Talbot—Bass
6thEarlofShrewsburyandMaryStuart’skeeper.
SympathetictoMary’spredicamentandtriestopersuade
Elizabethtopardonhercousin.
Cecil—Baritone
1stBaronBurleigh,theQueen’schiefadvisor.Heisa
shrewdpoliticianwhosensesathreattoElizabeth’sthrone
andencourageshertopunishMary.
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Overview
Synopsis
MaryStuart,theinfamousQueenofScotsandformerQueen
ofFranceisheldprisonerbyhercousinQueenElizabethI.
ElizabethisconcernedthatMarywantstoclaimthethrone
ofEnglandforherself.AsMaryfightsforherlifeandtriesto
earnElizabeth’sforgiveness,thelattergrappleswiththe
weightofherdecision.ShouldMarybebeheaded,orshould
herlifebespared?
Donizettitakesseverallibertieswithhisretellingofthis
importantchapterinTudorhistory.Whiletherivalry
betweenElizabethandMarywaswellknown,thetwo
neveractuallymet!Elizabethconsciouslyavoided
confrontationwithMary,butgivenhowdeeplythetwo
despisedoneanother,Donizettimightnotbefaroffthe
markindepictingtheperfect‘whatif’scenario.
ActI:ThePalaceofWestminster
Elizabeth(QueenElizabethI)istoyingwiththeideaof
marryingtheKingofFrance,althoughsheisactuallyinlove
withLordLeicester,RobertDudley,alongtimememberof
hercourt.Elizabethisalsofullofambivalenceabouther
cousin,MaryStuart(theexiledQueenofScotland)whois
claimanttothethroneofEngland.WhileMaryisbeingheld
inprison,Elizabethstillsensesthethreattohersupremacy,
andseekstheadviceofGeorgeTalbot,EarlofShrewsbury
(Mary’skeeper)andWilliamCecil,LordBurleigh
(Elizabeth’sadvisor).Talbotencourageshertobelenient,
whiletheshrewdCecilwantsMarytobebeheaded.
ElizabethordersLeicestertodeliveraringtotheFrench
Envoyasatokenthatsheisconsideringthemarriage
proposal.SheisexasperatedbyLeicester’scool
indifference.
MaryStuartimpartsasplendidoperaticflairtothepolitical
andreligiousconflictbetweenMaryandElizabeth.
Donizettibringsthemtogether,concoctsalovetriangle,
andletsthesparksfly.Asthenicetiesofdiplomacygoout
thewindow,theconfrontationeruptsintosomeveryunroyallanguageandthemostlyricalcatfightinallofopera.
TalbotprivatelygivesLeicesteraletterfromMaryinwhich
shebegshimtoarrangeameetingwithElizabeth.Leicester
rhapsodizesoverMary’sbeauty,proclaimingthathewould
happilydieforher.Clearlyinlove,Leicesterisdiscovered
byElizabeth.Hersuspicionsaroused,Elizabethpressures
theflusteredLeicestertogivehertheletter.Elizabeth
gloatsoverMary’schangeoffortuneandthefactthather
threecrownsarenowlosttoher.LeicesterbegsElizabeth
toshowcompassion,butpraisesMary’sbeautyalittletoo
Donizetti’sMaryStuartbringsustwoindomitableheroines
andawonderfullyItaliantwistonBritishhistory–
Shakespearianinvectivehurledinpurestbelcanto,hatred
andscornspunintosilken,sinuousmelody–magnificent
dramaandetherealmusic.
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ardently.FuriousthatMaryistryingtorobherofbothher
crownandthemansheloves,Elizabethagreestoameeting,
butsecretlypledgestopunishherrival.
ActIII:CouncilChambersinWestminster;Fotheringhay
Castle
ElizabethishesitantaboutMary’sexecution;LordCecil
urgesElizabethtosignandsealthewarrantasEngland’s
securityandfuturehangsinthebalance.Leicester’sarrival
convinceshertofollowthroughwithsigningthedeath
warrant.Hispleasforleniencyonlyservetofuelher
conviction,andsheordershimtowitnessMary’sexecution.
ActII:FotheringhayCastle
ImprisonedatFotheringhayCastle,Maryenjoysabeautiful
daywithhercompanionAnnaandsingsnostalgicallyofher
happyyouthinFrance.Whentrumpetsannouncethe
arrivalofElizabeth’shuntingparty,Mary'smoodabruptly
changestodreadatthethoughtofmeetinghercousin.
LeicesterappearsandurgesMarytoappearsubmissive.He
isconfidentElizabethwillbemerciful–ifsheisnot,he
vowstotakerevenge.
InFotheringhayCastle,CecildeliversthewarranttoMary,
andTalbotstaystocomforther.DeniedaCatholiclast
confession,MarytellsTalbotsheishauntedbytheghostsof
hermurderedsecretaryRiccio,aswellasherhusband
Darnley;sheistormentedwithremorseoverherpersonal
past,aswellasherinvolvementinaplot(TheBabington
Plot)againstElizabeth.Sheexperiencesamomentof
epiphanyandrelease,andpreparesherselffordeath.With
greatnobility,sheleadsaprayertoGod.Ascannonshots
signaltheimminentexecution,CecilasksMaryifshehas
anylastwishes.SherequeststhatAnnaaccompanyherto
thescaffold,andannouncesherforgivenessofElizabeth,
promisingshewillbeseechGodtoblessEnglandandits
Queen.
Themeetingbeginstensely.Thetwowomeneyeone
anotherwarily,Maryfullofterrorandapprehension,and
Elizabethinfuriatedbythepridesheseesinherrival.When
Marykneelstoaskforgiveness,Elizabethtauntsherabout
hersordidpast,includingrumorsofadultery,andher
implicationinthemurderofherhusband.EvenasLeicester
andTalboturgehertoholdhertongue,Mary,provoked
beyondendurance,loseshertemper,andinsultsElizabeth
bycallingherimpureandillegitimate.Elizabethordersher
guardstotakeanunrepentantMaryaway,andeveryone
expressestheirhorror,except,ofcourse,thecunningCecil.
Leicesterenters,distraughtandrailingagainsttheinjustice
ofthedeathsentence.Marybegshimnottoavengeher,but
tosupportandcomfortherasshegoestoherdeath.She
saysfarewell.Cecildeclaresthatwiththedeathofits
enemy,England’speaceisnowensured.
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Composer Biography—
Donizetti (1797-1848)
butashematured,his
compositionsfocusedon
buildingandreaching
dramaticheights.
Startingin1822,heworked
inNaplesfor16years,
whereheproducedoperas
atarapidpace;usuallythree
orfourperyear.
Donizettienjoyeda
successfulprofessionallife,
althoughhispersonallife
sawmoretragedy—his
wife,VirginiaVasselli,diedin1837duringacholera
outbreak,andnoneoftheirthreechildrensurvivedmore
thanafewdaysofinfancy.
Laterinhislife,hespentsometimeinParisandVienna,but
by1845,hehadbecomequiteill.HewasplacedinaFrench
sanatoriumfor17monthsbeforebeingtransferredto
Bergamo(bythispoint,hewasparalyzed,disorientated
andrarelyspoke).
HediedonApril8,1848,inBergamo,andwasburiedinthe
Valtessecemetery.Lateinthe19thcentury,hisbodywas
movedtoBergamo’sBasilicaofSantaMariaMaggiore.
Consideredoneofthemostsublimebelcantoopera
composersalongsideRossiniandBellini,GaetanoDonizetti
wouldhaveoneofthegreatestinfluencesontheoperas
thatVerdiwouldeventuallywrite.
BornDomenicoGaetanoMariaDonizettionNov.29,1797,
inBergamo,Italy,hewastheyoungestofthreesonsina
workingclassfamily.
HismusiceducationincludedstudyingunderSimonMayr
andlaterPadreMattei,inBologna.Donizetti’sfather
wantedhimtoreturntoBergamototeachmusic,but
Donizettididn’tlikethatideaandinsteadenlistedinthe
army.
Hisfirsttwooperas,composedwhileenlisted,weregreat
successes,andafterthesuccessofhissecondopera,hewas
dischargedandexemptedfromfurtherservicesohecould
composefull-time.
EventhoughDonizetti’sbelcantoworksarewidely
recognized,hewroteforallstylesofopera,inadditionto
composing16symphonies,19quartets,193songs,45
duets,threeoratoriosand28cantatas.Hisearlyoperas
wereusuallywrittenforthetalentsofaparticularsinger,
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Historical Characters in Mary
Stuart
MaryStuart(Tudor),
QueenofScots
MaryStuarthadan
eventfullife,complete
withthreemarriages
andclaimstothree
differentthrones.An
infantin1542,Mary
wasnamedQueenof
Scotland.Asateen,she
wasmarriedoffto
FrancisII,Kingof
France,buthedied
lessthantwoyears
laterandMary
returnedtoScotland.ShethenwedhercousinLordDarnley
(HenryStuart),buttheirmarriagewasextremelyrockyand
themanwasknowntobewicked.Inasurpriseturnof
events,Darnleywasmurdered,andMarymarriedthechief
suspect,LordBothwell.
Embroiledinthemurdercontroversy,MaryfledtoEngland,
whereshewasheldprisonerforalmosttwentyyears.She
wasconvictedoftreasonforhersupposedinvolvementin
theBabingtonPlotof1586againstQueenElizabeth,and
wassoonorderedtobeexecuted.WhileMaryperished,her
legacylivedon.WhenElizabethdiedchildless,Mary’sson
wasappointedastheKingofbothEnglandandScotland.
QueenElizabethI
ElizabethIwasbornintoanEnglandinturmoil—her
father,KingHenryVIII,hadseparatedfromhisfirstwife
becauseshecouldnot
providehimwithamale
heir,andmarrieda
womannamedAnne
Boleyn.Thisdissolution
ofmarriagecausedthe
CatholicChurchtosever
alltieswithHenry,and
chaosreignedwhenhe
establishedtheChurchof
England.Annegavebirth
toElizabethin1533,and
theCatholicChurch
deemedthischild
illegitimate.Elizabeth
wentthroughlifefighting
againsttheshameofbeingcalledillegitimate,but
eventuallyascendedtheTudorthroneandruledfor44
years.Shenevermarried.
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RobertDudley,1stEarlofLeicester
RobertDudleyisaverycontroversialfigureinEnglish
history.HewasaknownfriendandconfidantofElizabethI,
andtheirrelationsweresuspiciouslyclose.Itiseven
suggestedthattheymayhavehadanillegitimatechild
together.Evenso,Elizabethwasprimarilyinterestedin
rulingfirmlyandaskedDudleytomarryMaryQueenof
Scotsforstrategic
reasons.Herefused.
Dudleywantedtostay
byElizabeth’sside,and
hediduntilhisdeathin
1588.
WilliamCecil,1stBaron
Burleigh
WilliamCecilwas
ElizabethI’schiefadvisor,
andamanofimmense
cunning.Hesensedthreats
tothethroneandkept
Elizabethinformedabout
conspiracies.Whilesome
accuseCecilofcontrolling
andnegativelyinfluencing
Elizabeth,itisclearthathe
playedamajorpartin
strengtheningtheTudor
dynasty.
GeorgeTalbot,6thEarlofShrewsbury
Amilitarycommanderbyprofession,TalbotwasMary
Stuart’sjailerandoccasionalcompanionduringher
imprisonment.HehostedMaryat
theseveralhomesheownedand
shewastreatedliketheroyalty
shewas.
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A family divided: Mary and
Elizabeth’s legacy of conflict
rightfulQueenofEngland?Herambiguitymakesherahotly
contestedhistoricalfigure,andDonizettitacklesthe
questionssurroundingherpersona.
ElizabethIhasbeencalledthegreatestmonarchinBritish
history,hereponymouseraagoldenagethatestablished
Englishsupremacyinthearts,commerce,andpolitics;that
sawvoyagesofexplorationandtheriseofEnglishnaval
powerandasenseofnationalidentity.Thoughbyno
meansfreeofconflict,her44-yearreignprovideda
breatherofrelativetolerance,stabilityandpeaceamid
centuriesofturbulentsee-sawingbetweenCatholicand
ProtestantrulersandpowerstrugglesbetweenParliament
andtheMonarchy.
DonizettiisclearlyinfavourofMaryStuart,anddepictsher
asacharacterworthyofforgiveness.Ontheotherhand,he
doesnotdemonizeElizabeth,andthecomplexityofher
motivationsisapparentinherindecision.Bypittingthe
twohistoricalfiguresagainsteachotherinafictional
meeting,Donizettiadoptsauniqueperspectiveontheir
conflictandinvitestheaudiencetounderstandthese
charactersandtheirlegacies.
ThereislessagreementaboutElizabeth’scousinMary
Stuart,wholanguishedinprisonfornearly20yearsuntil
Elizabethhadherbeheaded.Maryhasalwaysevoked
complicatedresponses,beginningwithElizabeth'sown,for
shefamouslydelayedtheexecution,reluctanttobehead
anotherqueenandknowingthepoliticalimplicationsboth
athomeandabroad.Atthesametime,Elizabethrefusedto
evermeetMaryandhearherargumentsforforgiveness.
DidMaryreallyharbouradeathlyhatredofElizabeth,anda
desiretotoppleherregime?OrwasMaryamartyrandthe
Photocredit:DavidCooperforPacificOperaVictoria’sMaria
Stuarda,April2012.
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The Sublime Beauty of Bel
Canto
individualsubjectiveexperienceaboveeverythingelse.Art
andmusicwereawaytoawakenthespiritandtoenrich
thehumanexperience.Thebelcantocomposerstookthis
commitmenttoheartandcreatedmasterpieceswith
emotionalhighs,lows,andlandscapesoffeeling.
(Adaptedfrom“BelCanto,ThenandNow”byRobert
Holliston,April2012)
Rossinidescribestheessentialcomponentsofbelcanto
singing:
Donizetti’sdefinitivestyleofoperaliveswithinthebel
cantotradition,whichliterallymeans“beautifulsinging”.
Beautyandsublimityarethusessentialcomponentsofthis
opera,andcanevokeheightenedemotionstogreat
dramaticeffect.Thesingingissuccinctyetelaborate,
accompaniedbystrongmelodiesatvariouspaces,designed
toshowcasenotonlyrangebutalsoconveycharacter.
a)theInstrument–thevoice–theStradivarius,ifyoulike;
b)technique–thatistosay,themeansofusingthe
Instrument–andtheintensivetrainingnecessaryto
sustainalong,legato(smoothandseamlessbinding
togetherofvowels),espressivolineaswellastheagility
demandedbyfastercoloratura(diverse,backandforth)
writing;
Doublearias(cavatina-cabaletta)arefeaturedinMaria
Stuarda,wherethefirstpartisaslow,contemplativearia,
followedbyamorevigorousariathatshowcasesthe
singer’svirtuosity.Theprayeraria,whenMaryisawaiting
herexecution,isalsofamousforitsdifficulty—ahighGis
sustainedoversevenmeasuresandrisesinacrescendotoa
highBflat.Allthesecompositionsintendtoproducea
sublimeexperienceintheaudience,whereintheymayhave
immediatesensoryaccesstothecharacters’emotions.
c)innatetasteandfeeling–orStyle.Rossiniemphasized
thatthisreallycannotbetaught,butmustbeacquiredas
thenovicelistenstoandstudiesgreatsingers.“Styleis
Tradition.”
Inthepresent,weareseeingarevivalofthebelcanto
tradition,andtheworksofDonizetti,Rossini,andBellini
aretakingthestageatoperahousesaroundtheworld.Even
somelesser-knownworksaremakingtheirwayintothe
operaperformancerepertoire,andMariaStuardaisa
primeexample.EdmontonOperaistappingintothis
growingappreciationofbelcantoandbringsMariaStuarda
tothestageforitsAlbertapremiere.
Belcantowaspopularizedinthefirsthalfofthe19th
centurybyItaliancomposerssuchasGiaocchinoRossini
(1792-1868),VincenzoBellini(1801-1835),andofcourse,
GaetanoDonizetti(1797-1848).Theywereinfluencedby
theRomanticismoftheera,whichemphasizedthe
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Tense Start for Maria Stuarda
didfinallypremiereinNaplesin1834.Thisproduction
flopped.
Afterthis,DonizettitookhisoperatoMilan,hopingitwould
havebetterluckthere.Hemanagedtogetitproducedbut
afteronlysixperformances,MariaStuardawasbanned.
Thisoperafadedintorelativeobscurityuntilitwasrevived
in1958,andhassinceseenagrowingnumberof
productionsworldwide.Withsucharockyand
unsuccessfulbeginning,MariaStuardaisfinallybecoming
recognizedasanimportantcontributiontothebelcanto
tradition,andtooperaitself.
Donizetti’soperadidnothaveaverysmoothbeginning,
andfacedtroublewithbothproductionandreception.
Initially,Donizettiwasunabletofindalibrettist,andhehad
tosearchdesperatelybeforefindingayoungmannamed
GiuseppeBardari.Bardariwasonly17yearsoldandalaw
studentinNaples.MariaStuardawasthefirstandlast
librettoheeverwrote,adecisionmadeinpartbecauseof
thelegalcontroversiestheproductionfaced.Itwasheldby
thecensorsuntilseveralchangesweremade,andareal-life
quarrelbetweentheleadingladiesstalledtheproduction
further.
Unfortunately,theproductiondidnotmakeittothestage,
andwasbannedbytheKingofNaples,FerdinandII,
becauseitapparentlyoffendedhiswifewhowasa
descendantofMaryStuart.Donizettireworkedthecontent
andchangedthenamesofthewarringfamilies,sothatit
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Framed in history: Edmonton
Opera’s Mary Stuart
Asartcomestolife,thestoryofMaryStuartnolongerfeels
likeachapterofthedistantpast,ratherittakesonnew
meaningandcommentsontheuseorabuseofpowerfor
personalgain.DoesElizabethhavetherighttopunishher
cousinsobrutally?IsMarytrulyguiltyoflustingafterthe
throne?
Pivotalelementstotheproductiondesignaretheworksof
artfromTudorEngland,namelythegrandportraitsof
ElizabethIandMaryStuart.Theportraits,ofElizabethIon
herCoronationdayandofMaryStuartincaptivity,stand
imposinglystrongandtoweroverthecasttofillthestage
withtheirauthority.Asthemuseumstafffussesabout
detailsoftheirexhibition,theTudorwomenobservethe
entireoperationandwait
fortheperfectmomentto
stepinandtelltheirstory.
Thecostumesandset
complementtheemotive
composition,allowingan
audiencetoexperiencethe
gravitybehindtheTudor
Queens’conflict.The
designishighlyevocative
ofroyalty,passion,andthe
struggleforpower.
Veryfewartistsembracegrandeurandtheatricalityinthe
wayDonizettidoes.WithMaryStuart,Donizettidramatizes
andenrichesachapterofEnglishhistorythatalready
sizzleswithconflict,whichmakesthisoperatruly
enthralling.
Inauniqueinterpretationofthiscostumedrama,director
MariaLamontanddesignerCamelliaKoosetthe
productioninapresent-dayTudormansionthatisbeing
transformedintoa
museum.Asthestaff
preparestomountan
exhibitionshowcasingthe
livesofQueenElizabethI
andMaryQueenofScots,
thetwoTudorwomen
enterthepresentand
relivetheconflictbetween
them.TheTudorfamily,
whichplayedasignificant
partinshapingworld
history,literallystepsout
ofitsframetoandputsits
troubledrelationshipson
displayforalltosee.
PhotoCredit:DavidCooperfor
PacificOperaVictoria’sMaria
Stuarda,April2012.
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Musical Excerpts
Nellapacedelmestoriposo
InthepeaceofmysadseclusionShewillstrikemewithanew
terror.Iaskedher,yetdarenotseeher,Icannotfindsuch
courageinmysoul!Letherstayonherthroneandbeadored,
aslongashergazeisfarfromme,ToosorelyamIdespised;
Ineveryone'sheartpityformeremainssilent
FollowthelinksbelowtoheartheexcerptsonYouTube:
CavatinaOhnube!chelieveperl'ariatiaggiriand
CabalettaNellapacedelmestoriposo.
http://www.youtube.com/watch?feature=player_embedde
d&v=bVa_vYerx24
ImprisonedatFotheringhayCastle,MaryStuartrejoicesin
beingoutundertheopenskyandsingsnostalgicallyofher
happyyouthinFrance.
Thedoublearia(Cavatina-Cabaletta)formsthetraditional
solosceneintheBelCantooperasoftheearlyandmid19th
century.Thefirstpart,theCavatina,isaslow,
contemplativearia,designedtotoexpressthecharacter's
feelingsandshowoffthesinger'sbreathcontrol,soft
singing,andlongvocalline.Thensomethinghappenson
stagetochangethesituationandtriggeracontrasting
Cabaletta,afaster,morevigorousariathatshowsoffthe
singer'svirtuosityandexpressesdifferent,moreintense
emotions.
Onube!chelieveperl'ariatiaggiri
Thetwoqueensmeetforthefirsttime.
Ohcloud!Lightlydriftinginthesky,bearmyaffection,carry
mysighsTotheblessedlandthatoncenurturedme.Ah!come
down,please,takemeupuponyourwings,Takemetothat
land,takemeawayfrommysuffering!
http://www.youtube.com/watch?feature=player_embedde
d&v=Eh4uYM6jsM4
MariellaDevia:MariaStuarda.PaolaGardina:AnnaLaScala
ChorusandOrchestra,AntoninoFogliani,conductor.Pier
LuigiPizzi,stagedirector,setdesign,costumes.Teatroalla
Scala,Milan,2008
TrumpetsannouncethearrivalofQueenElizabeth’s
huntingparty,andMaria'smoodabruptlychangestodread
atthethoughtofmeetinghercousin.
Thisisanopulent1982Englishlanguageproductionbythe
EnglishNationalOpera.Althoughthereisdebateabout
presentingoperasintranslation,thisproductionis
exceptionalforitsdramaticimpactandastrongcastledby
themesmerizingJanetBaker.
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MariaStuarda(MaryStuart,QueenofScots):Janet
BakerElisabetta,QueenofEngland:Rosalind
Plowright;RobertDudley,EarlofLeicester,favouriteof
Elizabeth,inlovewithMary:DavidRendall;GeorgeTalbot,
EarlofShrewsbury,friendofMaria:JohnTomlinson;Sir
WilliamCecil,LordChancellor,enemyofMaria:Alan
Opie;AnnaKennedy,Maria'scompanion:Angela
Bostock;CharlesMackerras,conductorChorus&Orchestra
oftheEnglishNationalOpera;Producer(Director):John
Copley;Designer:DesmondHeeley
d&v=ntwH2dRwess
TheSingers
EditaGruberova,SoniaGanassiElenaMosuc,Stefania
KaluzaEditaGruberova,AgnesBaltsaKatiaRicciarelli,
GlenysLinosDanielaDessi,AgnesBaltsaPatriziaCiofi,
MariannaPizzolatoJoanSutherland,HuguetteTourangeau
MontserratCaballé,BiancaBeriniAshleyPutnam,Marisa
GalvanyElenaMosuc,KatarinaKarnéusMariellaDevia,
LauraPolverelliChristianeWeidinger(MonteCarlo1993)
MariellaDevia,AnnaCaterinaAntonacci
AmeetinghasbeenarrangedbetweenElisabettaandMaria,
usingaroyalhuntasapretext.Thehuntersarriveat
FotheringhaywhereMariaisimprisoned.Introductory
passagesofrecitativeestablishthatbothwomenarejittery
aboutthemeeting,andthatElisabettaisjealousof
Leicester'sfondnessforMaria.Thetensesextet,Èsempre
lastessa,beginstwoandahalfminutesintotherecording
asthetwoqueenseyeoneanotherwarilyandallthe
characters,unitedinunease,expresstheirseparate
emotions.WhenMariahumblesherselfbykneelingbefore
Elisabettatoaskforgiveness,ElisabettaprovokesMaria,
remindingherofhersordidpast,accusingherofadultery
andthemurderofherhusband.
FinallyprovokedbeyondendurancebyElisabetta'staunts,
Marialosesherheadandflingsathercousintheworst
possibleinvective.Hervenomousinsultscarryapointed
reminderthatmanystillbelieveElisabetta'sclaimtothe
thronetobeillegitimate.Elizabethcallstheguardstotake
Mariaaway.
FigliaimpuradiBolena,Parlitudidisonore?Meretrice
indegna,oscena,Intecadailmiorossore.Profanatoèil
soglioinglese,Vilbastarda,daltuopiè!
ImpuredaughterofBoleyn,Canyouspeakofdishonour?
Obscene,unworthywhore,Myshamefallsuponyou,The
throneofEnglandisdefiled,Vilebastard,byyourfoot!
ConfrontationScene
Watchabaker'sdozenofperformancesfeaturingthe
climacticmomentwhentheglovescomeoffbetweenthe
twoqueens.
http://www.youtube.com/watch?feature=player_embedde
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Prayer:Deh!Tudiun'umilepreghierailsuonoOdi
http://www.youtube.com/watch?feature=player_embedde
d&v=Xas_7xGcUQU
TheSingers
MontserratCaballéTizianaFabbriciniMariellaDevia2008:
JanetBaker
BeverlySillsasMariaStuardaJohnAlldisChoir,London
Philharmonic,conductedbyAldoCeccato,1971.
EditaGruberova
Awaitingherexecution,Maryandhersupportersprayto
Godforforgiveness.BeverlySills,oneofthegreatest
interpretersoftherole,singsthegloriousPreghiera
(prayer)inthistranscendentscene.ThePreghierais
famousforanextremelylonghighGsustainedoverseven
measuresandrisinginacrescendotohighBflat(beginning
at2'35"inthisrecording;Ms.Sillsholdsthesoaringhigh
noteforsome20seconds).
JoanSutherlandPatriziaCiofiElenaMosucKatiaRicciarelli
MariellaDevia2009
Awaitingherexecution,Mariaandhersupportersprayto
Godforforgiveness.Aboveisaselectionoftendifferent
performancesofthespine-tinglingportionofthePreghiera
inwhichMariasustainsalonghighnoteoverthechorus.
Toltaaldolore,Toltaagliaffanni,Benignoilcieloti
perdonò.Freedfromsuffering,Freedfromtorment,Bountiful
heavenhasforgivenyou.
Deh!Tudiun'umilepreghierailsuonoAh!Youhearthe
sound
Ofahumbleprayer,ohkindlyGodofmercy.Receivemeinthe
shadowofyourpardonFormyhearthasnoother
shelter.Freedfromsuffering,
JoanSutherlandinasizzlingconcertperformanceof
theCabalettaNellapacedelmestoriposowith
Margreta
Elkinshttp://www.youtube.com/watch?v=aw6PrpTBgr8&
feature=player_embedded
Freedfromtorment,Bountifulheavenhasforgivenyou.
Preghiera:TenperformancesofthesoaringhighGin
Maria'sfinalprayer
ConductorRichardBonynge,CoventGarden,1975
http://www.youtube.com/watch?v=SZW5trykE4&feature=player_embedded
15
Further Study
BackgroundNotesfromMinnesotaOpera(pdf):Anindepthlookatthegenesisoftheopera,thehistorical
background,andaTudor-Stuartfamilytree.
MariaStuardaandDonizetti
http://www.youtube.com/watch?feature=player_embedde
d&v=GCG4zJ-BJlw
http://www.npr.org/templates/story/story.php?storyId=9
0891928
IntroductiontoMariaStuardafromSanDiegoOpera
Talk:NickRevelesexploresthehistoricalbackgroundand
musicoftheopera.
QuarrelingQueens:Donizetti's'MariaStuarda:An
amusingNPRsegmentexploringtheconnectionbetween
theDixieChicksandMariaStuarda.Musicandpoliticsarea
volatilemix,eseciallywithchickswhoaren'treadytomake
nice.Readthearticleorlistentothesegment,complete
withmusicfromboththeDixieChicksandMariaStuarda
http://www.youtube.com/watch?feature=player_embedde
d&v=9cOB0pDO9Js
ThePlotofMariaStuardainoneminutewithBrenda
HarrisandJudithHowarth(MinnesotaOpera)
http://www.youtube.com/watch?feature=player_embedde
d&v=90gyxHWr7Rk
http://www.dynamic.it/maria_stuarda.pdf
EmiliadiLiverpool:Here'sasampleofJoanSutherland's
1957performanceofEmilia'srondofinale,"Confusaè
l'almamia",fromEmiliadiLiverpool.Makesuretolisten
throughtotheend;thesecondpartisatourdeforceof
vocalpyrotechnics.
Libretto(pdf):CDBookletfromtheDynamicrecordingofa
productionbyTeatroDonizettidiBergamo,includingnotes
andthelibrettoinfourlanguages.
http://www.gutenberg.org/ebooks/6791
http://www.classicalshop.net/download_booklet.aspx?file
=OP%200008.pdf
MaryStuartbyFriedrichSchiller.DownloadanEnglish
translationoftheGermanplayonwhichDonizetti'sopera
isbased.
EmiliadiLiverpoolandL'EremitaggioDiLiwerpool
(pdf):Can'tgetenoughDonizetti?PerusetheCDBooklet
fromanOperaRararecordingofbothversionsof
http://www.mnopera.org/files/performances/1945/1.6a
%20-%20Maria%20Stuarda%20background6.pdf
16
Donizetti'sLiverpudlianopus,withcopiousnotes,photos,
andbothlibretti.
andhertimes
http://www.royal.gov.uk/HistoryoftheMonarchy/Historyof
theMonarchy.aspx
http://www.youtube.com/watch?v=EfFTMNRH6qc&featur
e=player_embedded
HistoryoftheMonarchy:OfficialwebsiteoftheBritish
Monarchy:Exploreingreaterdepththekingsandqueensof
Britain.
MusicfromEmiliadiLiverpool(L'EremitaggioDi
Liwerpool):Ifyou'dliketosavourthecharmingmusic
fromthisearlyworkofDonizetti,youcanlistentomostof
thehistoric1957LiverpoolbroadcastonYoutube.Ifyou
decidetofollowalongwiththelibretto,bewarnedthat
althoughthisperformancewasbilledasEmiliadi
Liverpool,itwasactuallythe1828revision,L'eremitaggio
diLiwerpool;thelibrettobeginsonpage204oftheCD
booklet.
http://etudesecossaises.revues.org/index146.html
TheReputationsofMaryQueenofScots:Ascholarly
articlepublishedinÉtudesécossaises.JayneLewisofthe
UniversityofCalifornia,Irvineexamineswildlydiffering
perspectivesonMaryQueenofScots.ForeveryProtestant
whosawMaryasabloodthirstyharlottherewasthusa
Catholictoseeherasapiousmartyr.ForeveryScottish
personwhohadheardshewasaFrenchifiedinterloper,
therewasaFrenchonewhounderstoodhertobethe
rightfulunifierofthethronesofEngland,Scotland,and
France.Foreverymanwholoathedandrepudiatedherasa
Jezebel,therewasawomantoloveherasacompositeof
thebiblicalMaryswhoparticipatedinChrist'spassion.
EmiliadiLiverpool:JoanSutherlandConteAsdrubale:
HerveyAlanCandida:AprilCanteloConductor-John
Pritchard
History
http://englishhistory.net/tudor/monarchs/queenelizabeth-i/
QueenElizabethI:OverviewofElizabeth’slifeandtimes.
http://englishhistory.net/tudor/relative/maryqosbiograph
y.html
http://etudesecossaises.revues.org/index146.html
GeorgeTalbot,6thEarlofShrewsbury:Biographyofthe
historicalcharacterofTalbot
http://is.muni.cz/th/215574/ff_b/bachelor_thesiselizabethan_secret_service.txt
Mary,QueenofScots:AnotherintroductiontoMaryStuart
17
TheElizabethanSecretService:Learnaboutthefirst
stirringsoftheBritishSecretServiceduringthetimeof
ElizabethI.Discovertheespionagetechniquesandtheplots
andcounterplots(includingdetailsoftheBabingtonPlot,
whichledtotheexecutionofMaryStuart).Theofficers
controllingthesecretserviceincludedSirFrancis
Walsinghamandtwoofthecharactersintheopera,William
Cecil,BaronofBurghley;andRobertDudley,Earlof
Leicester.ABachelor'sDiplomaThesisbyMichaela
MackováofMasarykUniversityintheCzechRepublic
http://www.luminarium.org/encyclopedia/burghley.htm
WilliamCecil,1stBaronBurghley:Biographyofthe
historicalcharacterofWilliamCecil
Educationguidewrite-upseitherdirectlysourced,or
adaptedfromPacificOperaVictoriaStudyGuideforMaria
Stuarda,April2012.
http://www.luminarium.org/encyclopedia/leicester.htm
RobertDudley,1stEarlofLeicester:Biographyofthe
historicalcharacterofLeicester
18