It is without doubt one of the only a few operas the place the ladies (Mary Queen of Scots and Elizabeth I) are entrance and middle. Even when we settle for {that a} superimposed plot about their falling for a similar man is legitimate, versus the extra urgent problems with nation, throne, continuation of a dynasty, and faith, we virtually at all times see *males* in operas concerned in this sort of bitter rivalry over a lady. It’s refreshing to see the tables turned for as soon as.
As for the music, what riches! The cloud aria, the most effective recognized confrontation scene in operatic historical past, the confession, the prayer with its comfortable, hovering notice that continues for an eternity, and the suppressed fury of the finale; they communicate for themselves.
Within the confrontation scene, there are a couple of methods for Mary to be efficient: a kind of outdated Italian college no-nonsense singing with dollops of voce di petto (Zampieri, early to mid-career Grubby, Caballé typically); a dignified, regal, seamless supply (Baker, Sills, DiDonato, Gencer); and absolute bat-shit cray-cray however in a extremely thrilling, pin-you-to-the-seats-like-Nilsson-in-Turandot strategy (Sondra R., June Bronhill). The singers who select to do none of those (Sutherland, Devia, Mosuc, Aliberti, Murray) are maybe not my favorites on this scene. That is the second for Maria to tear Good Queen Bess a brand new one: try this with a regal composure or batshit craziness, however DO it. June Bronhill, the Australian soprano recognized principally for her G&S recordings (she should be the oldest recognized Phyllis in Iolanthe in your entire historical past of recordings of it) and different operetta equivalent to The Merry Widow, is an unlikely Mary Stuart, however what she lacks in approach she makes up for in dedication and craziness.
