Customer Reviews

Donizetti: Maria Stuarda - Orchestra & Chorus of the Teatro Alla Scalla

5 star:		(9)
4 star:		(3)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

The particulars:

Maria: Mariella Devia
Elisabetta: Anna Caterina Antonacci
Anna: Paola Gardina
Leicester: Francesco Meli
Talbot: Simone Alberghini
Cecil: Piero Terranova

Conductor: Antonino Fogliani
Director, set, costumes: Pier Luigi Pizzi
La Scala, 2008
Arthaus Musik 138 mins plus bonus


I love MARIA STUARDA. Of his Tudor operas, I rate it second after ROBERTO DEVEREUX as a music drama. Anna Bolena, in spite of its sublime music for the title role, as whole I find not as musically compelling than Donizetti's later works; it is less original and cohesive as whole.

While the music of Elisabetta and the other characters is not as memorable, the music for Maria herself is magnificent, finely characterized, and reaches heights of greatness. There is the nostalgic, wistful "O nube che lieve per l'aria," with its ascending-descending melody; the peerless last act, where Maria has a succession of one stunning number after another. The meditative, deeply felt larghetto of "Quando di luce rosea," the urgent duet with Talbot; the gorgeous, rapt "Deh, di un umile preghiera," which has a true religious fervor; the penitent "D'un cor che muore," and lastly, the *maestoso* "Ah se un giorno da questo ritorte," which burns with inner fire and a great nobility.

Not least, STUARDA has one of the most brilliantly dramatic confrontations between the the two queens, in a highly explosive encounter: the "Figlia impura di Bolena" sequence is a thoroughly febrile, hair-raising moment of drama.

Maria is the most lyrical of the 3 queens and the least adorned by decorative writing. It has served as a showcase for many excellent sopranos: Leyla Gencer (one Dina Soresi was the first Maria in the 20th century), Montserrat Caballé, Belle Silverman, Joan Bonynge, Edita Gruberova, and now, Mariella Devia.

The lost autograph was found in of all places, Stockholm, a number of years ago, and the performance reflects this. There are indeed numerous differences in several places throughout the score, in a departure from the by-now familiar version (derived from several, and supposedly "corrupt" sources) which has been used throughout the years in performance and recordings. I do not have the resources to compare the two scores side-by-side, and since different versions seem to be used for every performance available in any format, would be a major undertaking; but a Donizettian, familiar with the music, can discern the diffrences easily on his own. The most notable examples are that of Maria's cabaletta, "Nella pace del mesto riposo," and the final "Ah! se un giorno da queste ritorte;" both melodically take different courses from the versions we're used to hearing. They're not necessarily better; just different. I find myself preferring the final aria in its commonly heard incarnation, though; it strikes a more fatalistic and higher pitch of tragedy. However, the most striking variant is the finale to Act Two, after Maria has denounced Elisabetta as a "vil bastarda." In many ways the passages are similar, but unlike the wide intervals of high emotions of the usual one we're used to hearing, this one appears to seethe on a much more restrained level. It makes for a very interesting comparison, one which will depend on the taste of the listener.

This is, I think, the 3rd commercial video release of STUARDA. The first 2 can be handily discarded. The film by Petr Weigl is a bizarre experiment that fails utterly: it takes both Schiller's play (in German) and Donizetti's opera, and incorporates both into the same performance, intercutting them abruptly into one another: it's a disaster. The Dynamic DVD has two very notable artists: Sonia Ganassi as Elisabetta and Joseph Calleja as Leicester. But a gaping hole is left by the Maria of Carmela Remigio, she of the one octave-attractive voice and personality. She isn't horrible by any means (appealing voice and presence): just a bona fide amateur.

The void in the catalogue has now been filled and then some by this new release.

Production by Pizzi: minimalist. Barring the astro-turfed, plastic tree-ed opening scene for Maria, we have your generic grates, grilles, and stairs. Gorgeous costumes, of the period. Lots of leather-clad courtiers (Castro District residents take note) and Catholic Ladies Dressed in Black. Reasonable attempt at staging.

From the bottom: Workaday Cecil. A young, baritonish, average Talbot. The Leicester, Francesco Meli - the Elvino on the Dessay SONNAMBULA. Nice voice, a bit tight on top, fine presence ("Keeping Up Appearances" ' Rose would describe him as "dishy"). None of these men would be described as exceptional singers (Meli a notch above), but they are competent enough.

Antonacci, an excellent, elegant Elisabetta, is a great foil for for Devia's more humble Maria. She takes care not to be the beastie baddie bitch, and looks agonized at having to sentence her sistah girl to the chopper. Antonacci has a more character-type voice than one of true technical precision. The voice has a bit of a flutter, but is not unsteady, and she is an expressive artist. It's too bad Elisabetta's music is so conventional: her music doesn't linger in the memory (and isn't "excerptable").

This release's principal distinction is brought about by the (largely) ageless Mariella Devia. I would say that this release, (meaning on video) does the greatest justice to her art (the LUCIA from Scala, 1991 is a fine document, but Devia, while splendid vocally, is, histronically a bit on the low-temperature side).

To put on a point on it, Devia, at 60, is just fricking unbelievable. There is scarcely a soprano 10, 20, 30 years younger who is singing as well as she does still. From the moment of her entrance, an aura-glow of a Special Occasion takes place. She is one of Italy's glories.

For those of us who have followed Devia's career for a long time, we will note what a *shrewd* self-judge she is, in the same way Dorothy Kirsten was - in knowing precisely how the voice will best function.

I say this as a fact, not criticism: Devia's middle-lower range, within the context of a line, has lost some of its sonority and strength (from natural consequences of age, not faulty vocal production). Some of the individual phrases that occur on low are just fine, but wending down in a line that has begun on a higher tessitura, the body of the tone tends to disappear; "dal tuo pie," sung *come scritto* (instead of the octave up), loses impact (she might have best elected for the octave up tranposition). But elsewhere, to solve low-lying considerations: Devia simply raises the line, the phrase, the note: her upper register is mainly undiminished, in fact, it peals out with amazing freedom and power. And she often adds interesting bits of crowning notes to heighten the expression and edge. Her judicious, aware knowledge of where and how she has made these textual decisions is a sign of her absolute self-discernment. These are the kind of adjustments that Donizetti would have understood, as, after all, most composers wrote to the strengths and weaknesses of any given singer.

The role is a near perfect fit for Devia. Her voice finds its best repose in the gilding of a line, and here, she exemplifies the sympathetic mien of the character. The limning of "O nube che lieve per l'aria" is expert, suave and buoyant; she captures the joy of her recall. "Da tutti abbandonata" has her showing that fine, plushy tone you know in her "Verranno a te." For the "Figlia impura di Bolena," her denunciation begins well enough, with brisk, biting sarcasm; but at "Profanato, e il soglio inglese" to the end of the section, the tone loses focus, so that some of the impetus is lost.

Act 3 though has her going prodigiously from one scene to another. Devia invests deeply in the line of "Quando di luce rosea," creating a poignant sense of regret. The Preghiera is just gorgeous, pristine: the high A is held crescendoed, and goes upward without a break in breath. She successfully creates some variants to detract from the low-lying "D'un che muore," while keeping the sense of the piece's mood.

However, Devia pulls out all the stops for a splendid "Ah, se un giorno da queste ritorte," where she floods the melody with the most dulcet of tones, conveying a sense of burning urgency; she has a way of shading the tone to impart a tear without sobbing. Most fascinating of all, she alters the second verse's melody with some spectacular variants to capitalize on the undiminished power of her upper register, and it heightens that urgency most persuasively. By the way, Devia ends both acts 2 and 3 with the familiar sopracuti: both are spot-on. I love the staging here: Maria puts her head on the chopping block, and the leather-adorned bald slave-master-executioner lifts up the slicer ~~~ then, darkness.

Histrionically, this is the most involved performance of Devia's that I've seen so far. Maturity seems to have given her a more purposeful reaction to the music, and her physical responses are more free, spontaneous than I've ever seen her. You might wish for a bit of Scotto-Seize-The-Moment grandeur in the "Figlia impura di Bolena," but, for the most part, Devia's unfussy acting is in an honest, direct response to the music.

The 10 minute backstage mini-docu is a tantalizing glimpse of the stars and staging.

Unhesitatingly recommended. You will not hear many singers who sound this good at age 60.

This is the real thing: Belcanto in excelsis!
For sheer sense of style, individuality, understanding of what she is singing and technical magnificense, Mariella Devia is without peer. And if you consider that she is past 60, it is obvious she is a living miracle.
It doesn't matter that the staging is rather modest, with Devia and the also stupendous Anna Caterina Antonacci living their roles to the full, this is a must-have DVD. In this age of girls-next-door trying to be prima donnas, here you have the real thing: Great Divas.

This production presents the critical edition of this score in a splendid musical performance.

Mariella Devia may not have the most beautiful of voices for the bel canto repertoire, but she deserves her reputation as one of the leading exponents of Donizetti's lyric coloratura roles. I had the pleasure of seeing her Lucia on stage some years ago, and her voice, at 60, is just as secure and commanding as then. She caps the first act finale with a powerful D in alt. She's an excellent actress, as well, and turns in a committed and moving performance as the queen of the title.

She's equally matched by the Elisabetta of Anna Caterina Antonacci. Ms. Antonacci can be relied upon for her secure vocal technique and her compelling acting. The confrontation scene between the two queens is, as one would expect, the highlight of this performance.

Francesco Meli is an ardent and sweetly sung Leicester. Simone Alberghini and Piero Terranova are adequate as Talbot and Cecil, respectively. Both orchestra and chorus are superb. The picture is sharp and the sound is clean.

The production itself leaves much to be desired, and I've taken off a star accordingly. There's nothing too bad in the staging, it just isn't very interesting. The set is merely a structure of grilles and grids. In the feature interview, Pier Luigi Pizzi states this is meant to represent a prison. This is appropriate enough, I suppose, for those scenes in which Maria appears, but has no bearing on the scenes at Elisabetta's court. I suspected it was just low-budget, but a full forest scene rises from the basement at the beginning of the second scene. Maria wanders amongst the trees whilst singing her entrance cavatina. The forest subsequently sinks back to the basement for her cabaletta. According to Mr Pizzi, this is meant to tell us that she's dreaming of happier times - thanks so much for the clue. The music would never have told me that. The costumes indicate that several herds of cattle must have been slaughtered to provide all the leather. The ladies usually get posh frocks, but even Elisabetta is butched-out in a leather dominatrix outfit, complete with riding crop, for the confrontation scene. These, however, are minor quibbles.

The DVD is accompanied by a booklet with a complete cast list and a brief, and badly written, essay. [...]. If you're familiar with this opera from the Sills or Sutherland recordings (or the bootleg Caballe recordings), you'll notice some differences. The opening chorus is a tune that Donizetti will later recycle in "La Favorite" and Maria's first act cabaletta "Nella pace del mesto riposo" has an variant passage in the later part.

Despite the grilles and grids, there is ample material for enjoyment and I recommend this to lovers of bel canto.

Ever since the night in the middle 1970's when I heard Beverly Sills at New York City Opera sing this piece, I became an ardent fan of this opera and I have collected any LP,CD and DVD of this work that I have come accross and I must say that this DVD does not disappoint.
As a DVD is the best so far, the other available ones do not come near to this production.
In spite of the unusual staging I found it great in every aspect, musically, vocally, the costumes are stunning, all together, a well deserved 5 Star rating.
Ironically Beverly Sills according to her autobiography considered this piece the least interesting of the Three Donizetti Queens and she only sang it and recorded so she can say that she did the complete Donizetti Queens Trilogy.
On CD there are more choices of this work besides Sill's: by Caballe, Sutherland and Gruberova (my favorite on CD)among many others.
Now, if you want an interesting and different experience watch the DVD
of "Mary Stewart" by ENO (English National Opera) with Dame Janet Baker as Maria and Rosalind Plowright as Elisabetta.
It is in English, but all the music is there, the translation is
excellent and fits the score to perfection. This DVD is readily available
from Amazon but you must search for Janet Baker DVDs.
Once more, I highly recommend this DVD.

Anna Caterina Antonacci is Elizabeth, Mariella Devia is Maria Stuarda.
These two brilliant stars shine in this powerful opera by Donizetti.
This is an excellent production--a somewhat sparse set, but effective,
and wonderful costumes.
These are roles great sopranos can sink their teeth into---and
in this dvd, you will be as intrigued with the story as the
ravishing music and singing! Enjoy!

This is an outstanding DVD. I am not going to review it as others have already done that splendidly well. I just want to comment on Antonacci. She is one of the top rated operatic performers in Europe both for her voice and acting capabilities. She was supposed to sing at the Met a few years ago but apparently had an argument with the incoming Management Director and she was either cancelled or she pulled out.

I have written to Mr Gelb and asked him to reconsider engaging Ms. Antonacci in the coming seasons. New York deserves to hear and see what European opera fans have been raving about for years. And she deserves to perform at the Met. Her DVD's of Carmen and her Les Troyens with Susan Graham are two of the most amazing operatic performances I have ever seen. Anyone who has enjoyed her performance here should purchase those DVD's as well.

Anyone who reads these reviews who has any influence with anyone at the Met, please contact Peter Gelb and ask him to bring Ms. Antonacci to New York.

alan

Maria Stuarda is one of Donizetti's many great music dramas, another in a substantial line on English royalty that he wrote. He and his librettist take their cue from Schiller, whose drama created the confrontation between Elizabeth I and Mary Stuart that history did not provide. Donizetti's manipulation of the received Rossinian musical forms allows that confrontation powerful musical and dramatic expression, while at the same time providing exquisitely beautiful melodies that seem endless. This performance captures it all. Mariella Devia takes her place next to Caballe, Sills, and Sutherland as a great Maria. As they did, she makes adjustments to show off her shimmering pianissimi on high and her endless breath allows her to voice and phrase the melodies beautifully. Antonacci, with a less purely beautiful sound nonetheless provides much pleasure too, while at the same time creating Elizabeth's doubts about executing a living monarch, who is also her cousin. She is worthy of comparision with Verrett and Pauline Tinsley. The rest of the cast, especially Francesco Meli, the Leicester do very well. The staging is spare, and thankfully without the trashy elements that pass for psychological reinterpretaion these days.This a must-have for Donizetti fans.

Mariella Devia is the greatest riddle of the classical music world - a top-notch singer, but what publicity did she enjoy ever since she proved to the musical world her undoubted talent?
This DVD of the live performance at La Scala rightfully caught the eye as 'the' modern DVD release of Devia. This time, she is partnered with a much younger cast then herself. Anna Caterina Antonnaci may not be in the same league as Devia in such repertoire, but she is nonetheless a competent partner.
The male roles are also worthy of mention. The three roles of Roberto, Cecil and Talbot are to varying degrees successful.
Meli in the role of Roberto is particularly worthy of note. This is a very green tenor, but does possess an instrument of no small potential. At times, he reminds you of the early Giuseppe di Stefano in bel canto roles, with a true ribbon of a voice. With such a timbre, he would probably be able go quite far in these lyrical repertoire.
Aberghini as Talbot is dramatical fine, but vocally lack lustre. In the role of Cecil, Terranova is much more convincing, with a full, dark bass timbre.
The sets are quite puzzling, but if it is the music that you are after, these do not stand too much in the way.
**********************
Having recently seen and heard Ms. Antonacci in concert, I must point out that the make-up and sets in this production distorted most, if not all, of her looks as well as those of other ladies in thec cast.
Much fresher looking and tons more charming with a delicate and sophisticated stage presence, Ms. Antonacci rightfully boasts as one of the top divas of today's operatic stage.
She is BEST in the bel canto genre, less so in the other romantic repertoire.
I think she'd make a wonderful Donna Elvira in Mozart's Don Giovanni.

Except Sutherland's which is only on CD and (alas) has Pavarotti, this is the most beautiful Maria Stuarda I ever heard. The end is grim beyond belief, but that's not music. Devia is wonderful and while I can't honestly say I think she's the equal of Sills or Sutherland at the high notes, she is terrific nonetheless. I highly recommend this to anyone who likes Stuarda, Donizetti, Devia or music. I love it. Two notes. Elizabeth was crying at the final bows, and she and Devia embraced, clearly not enemies, though that needn't have been pointed out, though I liked it. And (damnit) another Stuarda without "vil bastarda" - is music having a renaissance of prudery?!

Just had pointed out to me she does say "vil bastarda" - after "impure daughter of Bolena" near the end of her speech, but it's mulched into the words and music and easily (by me anyway) lost, not isolated and spat out like I'm sure I remember hearing from long ago. Still a beautiful performance anyway.

Excellent singing actresses. The last scene is riveting.The simplicity of the props and scenery help focus on the two principals . Highly recommended.