An opera that consistently hit censorship problems during the composer’s lifetime, Mary Stuart took off during the Donizetti revival of the fifties and is now one of his most frequently performed works.
The scene in which Mary and Elizabeth I meet and argue with fatal consequences is one of several departures from history, but they help enliven a piece of theatre that shows the composer regularly reaching the dramatic peaks.
Antony McDonald’s self-designed staging mixes costumes from various periods, but the power-dressing for the two queens in particular shows the two monarchs as headstrong individuals caught up in a permanent battle that owes as much to the inherent rivalry of their positions as to the emotional and personal tensions between them.
It also presents Mary herself as the iconic emblem of martyrdom from which Donizetti’s opera draws its strength.
Certainly that is how she comes over in Sarah Connolly’s proud and defiant portrayal. Even with the remnants of a throat infection holding her back, the grand expressivity of Connolly’s singing is outstanding.
Less vocally even, Antonia Cifrone offers an insecure, combative Elizabeth. Between them is Bulent Bezduz as Leicester, his youthful good looks and vibrant lyric tenor creating a potent counterweight.
David Kempster’s Cecil is a tower of strength, and at this second performance understudy Trevor Bowes stepped in with increasing assurance as Talbot.
Conductor Guido Johannes Rumstadt maintains positive momentum throughout this memorably handsome and articulate show.
Production information can change over the run of the show.
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