Maria Stuarda Listening Guide

Donizetti’s fierce score captures the tension and the intense hatred between the two historical queens. From soft and gentle cavatinas to blazing wild cabalettas, Donizetti captivates the audience with his emotional writing. If Mary Stuart and Queen Elizabeth I were alive today, would they agree with Donizetti’s portrayal of their heated relationship? The tracks listed below correspond to the complimentary Listening Guide CD provided to school group bookings only.

Not coming to the opera but looking to explore Maria Stuarda in the classroom? The excerpts below can be found in the recording of Maria Stuarda with Joan Sutherland, Huguette Tourangeau and Luciano Pavarotti, with Richard Bonynge conducting the Orchestra and Chorus of the Teatro Comunale di Bologna, on the Decca label.

Track # Musical Connection Musical elements Strategies for excerpt to the story and significance Listening

1 Aria: “Ah! dal Elisabetta, Queen This aria (solo) is typical of the bel canto Opera singers use a cielo discenda of England, prays style which requires a type of singing that natural vocal technique un raggio” for guidance in is very ornamental. Composers wrote called “vibrato” (vibrating (“Ah! may a ray dealing with her music that was long and challenging sound). of light from cousin, Maria to test the artistic skills of the singer. heaven”) Stuarda. She This aria di sortita (an aria sung when How do you think a singer wonders whether a character enters the scene) begins makes their voice sound to show her relatively calmly but, as Elisabetta like that? kindness, or to contemplates the possibility that Maria seek vengeance may have stolen Roberto from her, she against the woman becomes more agitated as her musical she feels may have line breaks into runs. The soprano must stolen her beloved, show how she can “run” from a low to a Roberto, the Earl of high note or high to a low note [2:20 to Leicester. the end].

2 Aria: “Ah! Roberto rejoices The role of Roberto was stretched in the Can you think of modern rimiro il bel at his memories of opera. Historically he was in fact in love versions of techniques sembiante Maria and, since with Elizabeth but when she turned him used in bel canto singing? adorato” (“Ah! she is being held down she suggested that he marry Mary Think of some pop singers I see once prisoner by her Stuart instead, in order to cement English that may elaborate or more her cousin, Elisabetta, and Scottish relations. Mary Stuart, in ornament words to show lovely face, so swears he will free turn, rejected his proposal! Musically, this their vocal capabilities. adored”) her or die with her. excerpt is a good example of a standard How do these modern day bel canto form: the aria begins with the ornamentations differ from cavatina, a slow paced and melodious those of bel canto? How section in which the singer displays do they sound the same?

Canadian Opera Company ~ Education and Outreach ~ Maria Stuarda Study Guide 2009/2010 ~ coc.ca ~ 416-306-2392 Track # Musical Connection Musical elements Strategies for excerpt to the story and significance Listening

their ability to maintain long, sustained phrases with a beautiful and consistent tone. This is followed by the more upbeat cabaletta which provided the singer the opportunity to display their technical skill and vocal flexibility through fast moving runs and trills.

Cabaletta: Maria laments This cabaletta is all about vocal display. What would you miss 3 “Nella pace her status as the A cabaletta is a musical form which the most if you were del mesto prisoner of her consists of two verses followed by suddenly imprisoned? riposo” (“In cousin, Elisabetta. embellished variations on the melody. the tranquility Even though in the text Maria speaks What do you think Maria of my sad of her lack of courage, the runs, leaps misses the most? retreat”) and high notes in the music indicate she is not entirely without strength. The How do you think an singer here, Joan Sutherland, was largely opera singer would responsible for reviving operas like Maria prepare to sing such a Stuarda during the 1960s and 1970s demanding aria? following a long period in which they were absent from the stage.

Ensemble: Despite Maria’s The meeting between Maria and Have you ever said 4 “Deh! l’accogli” attempts to ask for Elisabetta never happened in real something inappropriate (“Speak to forgiveness and life, but was included in Mary Stuart, when you were angry? her!”) pity, Elisabetta the Schiller play on which the opera What happened because pours scorn on is based. Both Schiller and Donizetti of it? her rival. Unable to recognized the strong dramatic potential bear this treatment provided by this fictional fight! What makes a word any longer, Maria offensive? How do insults the English Musically, the tempo (speed of music) censors make decisions Queen, calling increases as Maria bursts out more and about what is offensive? her “the unchaste more insults. The dramatic confrontation Have you ever disagreed daughter of Anne ends in an extremely lively finale with the with a censor’s decision? Boleyn” and “a queens and spectators all commenting base, lascivious on the heated encounter that has just How does Donizetti harlot… the English ensued. musically evoke anger? throne is profaned, despicable bastard, by your presence!” The words “vil bastarda” (vile bastard) prompted censors to ban performances of Maria Stuarda after the operas premiere.

5 Chorus: Maria’s friends The function of this chorus is to set How does Donizetti’s “Vedeste?” lament the tragic the scene for Maria’s final entrance. music set the atmosphere (“Did you see?”) death that awaits The words being sung are largely of this scene? their queen. descriptive: “The block… the axe… the funeral room… What a sight! How How many times does dreadful!” The chorus enters sotto the mood change in this voce (singing with a hushed quality). piece? How does the This technique, offset by the szforzandi music indicate a shift in (suddenly loud singing), heightens mood? the horror of the queen’s execution, expressed by Maria’s supporters. This is the beginning of a long, complex musical movement in which the moods, and the way they are expressed, are constantly changing.

6 Cavatina: “Deh! Maria begins her A cavatina is a short and simple song Why is the musical form Tu di un umile final, extended without a second verse or any repetition. of cavatina appropriate preghiera il death scene with a The vocal line here is very simple and for a prayer? suono odi” (“Ah! simple prayer asking sustained. It gradually rises and gains listen to our for God’s mercy and in intensity as other characters and the humble prayer”) forgiveness. chorus join in. Despite her desperate situation, Donizetti gives Maria music which is dignified and suits her station as queen.

7 Aria: “D’un cor In this larghetto Donizetti gave this section of the finale Do you think the chorus che muore reca (slightly slow) a special heading, calling it the “Aria del is supportive of Maria’s il perdono” section of the final Supplizio” (“The Aria of the Execution”). actions? Support your (“Take the scene, Maria asks It starts out in a forceful, declamatory answer by using musical forgiveness of for the forgiveness style, but is transformed [2:39] as examples. a heart which is of Elisabetta, the Maria’s voice ascends to a soft, high dying”) very person who has pianissimo (extremely quiet), floating condemned her. over the choral phrases below, as she sings of how her shed blood will cancel all her sins.

8 Cabaletta: “Ah! As Maria is about to Donizetti communicates Maria’s tragic How would you describe se un giorno da go to the scaffold, fate in this final section of the finale. Her the character of queste ritorte she implores pleas to Roberto are sung in a lyrical Elisabetta, basing your il tuo braccio Roberto to console manner but the musical line becomes decision solely on her involarmi dovea” her with the strength more forceful and dramatic as she music? (“Ah! if once of his love. renounces the idea of calling down the your arm was wrath of God on an England ruled by going to free me Elisabetta. from my bonds”)

By Gianmarco Segato, creative and retail assistant in the COC’s marketing department.

Canadian Opera Company ~ Education and Outreach ~ Maria Stuarda Study Guide 2009/2010 ~ coc.ca ~ 416-306-2392