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CHAN 3017 BOOK 2.Qxd 1/4/07 16:27 Page 2 CHAN 3017 INLAY FRONT.qxd 30/3/07 09:35 Page 1 SOLOISTS/ENOORCHESTRA AND CHORUS/MACKERRAS DONIZETTI: MARY STUART CHANDOS O PERA IN ENGLISH CHANDOS CHAN 3017(2) PETE MOOES FOUNDATION CHAN 3017 BOOK 2.qxd 1/4/07 16:27 Page 2 Gaetano Donizetti (1797–1848) AKG Mary Stuart Libretto by Giuseppe Bardari after Schiller English translation by Tom Hammond Mary Stuart ................................................................ Dame Janet Baker mezzo-soprano Queen Elizabeth I .............................................................. Rosalind Plowright soprano Robert Dudley, Earl of Leicester ......................................................David Rendall tenor Sir William Cecil.............................................................................. Alan Opie baritone George Talbot, Earl of Shrewsbury..................................................John Tomlinson bass Hannah Kennedy ...................................................................... Angela Bostock soprano English National Opera Orchestra and Chorus Victor Morris musical assistant Gaetano Donizetti Sir Charles Mackerras conductor 2 3 CHAN 3017 BOOK 2.qxd 1/4/07 16:27 Page 4 COMPACT DISC ONE Act II [p. 54] 15 ‘Why run so fast, my lady?’ 3:00 [p. 73] 1 Prelude 1:36 [p. 68] Hannah, Mary 16 ‘You murmuring breezes…’ 3:45 [p. 74] Act I [p. 54] Mary 2 ‘Let us wait here’ 2:35 [p. 68] 17 ‘What tumult! Those voices!’ 0:56 [p. 74] Chorus, Voice Mary, Chorus, Hannah 3 ‘Yes, but the French Prince is seeking…’ 1:13 [p. 68] 18 ‘In the peace of my gloomy seclusion’ 3:36 [p. 74] Elizabeth Mary, Hannah, Ladies 4 ‘If fortune one day should send to me…’ 3:16 [p. 68] 19 ‘Ah! May this joy not deceive me’ 1:47 [p. 75] 5 ‘In this moment of rejoicing’ 1:49 [p. 68] Mary, Leicester Talbot, Chorus, Elizabeth, Cecil 20 ‘Long by the world forsaken’ 4:34 [p. 75] 6 ‘May the light of wisdom and justice’ 4:24 [p. 69] 21 ‘All too well I surely know her!’ Elizabeth, Chorus, Cecil ‘Ah! Though my spirit never faltered’ 3:27 [p. 76] 7 ‘But, where is the Earl of Leicester’ 2:11 [p. 69] 22 + ‘What place is this then?’ 2:24 [p. 77] Elizabeth, Cecil, Leicester Elizabeth, Leicester, Cecil, Talbot, Mary 8 ‘Did you not ask to see me, earlier today?’ 2:15 [p. 69] 23 ‘Report has not failed me’ 2:38 [p. 77] Leicester, Talbot Elizabeth, Mary, Talbot, Hannah, Leicester, Cecil 9 ‘I remember these lovely features’ 3:37 [p. 70] 24 ‘Bid her welcome!’ 0:41 [p. 78] 10 ‘If she dare trust in me’ 1:47 [p. 71] Leicester, Elizabeth, Talbot, Mary 11 ‘Do I disturb you?’ 2:09 [p. 71] 25 ‘Dead to justice, throne and kingdom’ 7:18 [p. 78] Elizabeth, Leicester Mary, Cecil, Elizabeth, Leicester, Talbot 12 ‘How affecting…’ ‘Is she relenting?’ 1:47 [p. 71] 26 ‘Go, prepare yourself for sentence’ 2:03 [p. 80] 13 ‘When I first looked upon her face’ 4:36 [p. 72] Elizabeth, Cecil, Mary, Hannah, Leicester, Talbot, Chorus 14 ‘My arrogant rival has long sought to rob me’ 2:15 [p. 73] TT 71:47 [p. 57] 4 5 CHAN 3017 BOOK 2.qxd 1/4/07 16:27 Page 6 COMPACT DISC TWO Act III Scene 1 [p. 57] Scene 3 [p. 57] 1 ‘Still pensive? Still delaying?’ 4:00 [p. 81] 11 ‘You saw them?’ 6:28 [p. 86] Cecil, Elizabeth Chorus 2 ‘While she’s living I’m still in danger’ 3:40 [p. 82] 12 ‘Hannah!’ ‘Do not disturb her’ 4:42 [p. 87] 3 ‘Your Highness!’ ‘You do but speed her execution’ 4:51 [p. 82] Chorus, Hannah, Mary Leicester, Elizabeth, Cecil 13 ‘Oh, deign to hear our prayer, merciful Saviour!’ 4:04 [p. 87] 4 ‘You have conspired a sister’s death’ 3:44 [p. 83] 14 ‘The signal’ 1:27 [p. 88] All, Cecil, Mary Scene 2 [p. 57] 15 ‘Death hovers near me, so take my pardon’ 4:03 [p. 88] 5 ‘Elizabeth will continue to mock and insult me’ 4:53 [p. 84] Mary, Hannah, Talbot, Chorus, Cecil Mary, Cecil 16 ‘Leicester approaches’ 2:21 [p. 88] 6 ‘Oh faithful Talbot!’ 5:05 [p. 84] Talbot, Mary, Leicester, Cecil Mary, Talbot 17 ‘Though you once made a vow to protect me’ 5:14 [p. 89] 7 ‘Once all the radiant joys of youth’ 4:18 [p. 85] Mary, Leicester, Talbot, Hannah, Chorus, Cecil 8 ‘There still remains another charge’ 0:58 [p. 86] TT 64:19 [p. 83] 9 ‘No, I never turned from my Saviour’ 1:25 [p. 86] 10 ‘Go, leave this world of grief behind’ 3:03 [p. 86] 6 7 CHAN 3017 BOOK 2.qxd 1/4/07 16:27 Page 8 imprisoned Queen’s gloom and noble features of Mary Stuart is that it exemplifies a Donizetti: Mary Stuart equipoise (full of inspiration for Donizetti’s most unusual variant of the eternal romantic characteristic melodic vein of suave triangle: one courtier, two rival queens. And we melancholy) and a contrasting loftiness and note that in composing an opera for two prima An Introduction to Mary Stuart Felice Romani failed to produce a libretto pride of spirit (perfect for Mary’s more donnas Donizetti showed a recklessness in Spring 1834, and Donizetti was at the zenith in time. To take up the tale of Mary Queen pyrotechnic effusions). In the age of bel canto braving the conventions of the day at which of his career. The previous twelve months had of Scots, as recounted in Friedrich von a “beautiful, and miserable, and lofty minded” even Verdi might have raised his eyebrows. been exceptionally busy: he had produced four Schiller’s great tragedy, was to bring these heroine was as much as one could wish for in a new operas in three different cities (Parisina in literary and historical tendencies to a fitting title role.’ The growing lyrical stylization of In the latter part of the twentieth century Florence; Torquato Tasso in Rome; Lucrezia culmination. Schiller’s later dramas provides ample pretexts Mary Stuart has been one of Donizetti’s most Borgia in Milan; Rosmonda d’Inghilterra in Working against the clock as he so often for song; while the clarity of dramatic design is admired scores; in his own day it was one of Florence again) and made a revised version of did, and for reasons unknown unable to find a also helpful, particularly as it homes in on a the most ill-fated. As the summer weeks of his 1831 opera Fausta for Venice. Parisina, professional collaborator to write a libretto for magnificent climax (the fictitious meeting 1834 wore on, there was certainly some after Byron, and Lucrezia Borgia, after Victor him, Donizetti turned for help to a seventeen- between the two queens) which in its slowly nervousness about the reactions of the censors, Hugo, showed Donizetti’s deepening interest year-old enthusiast called Giuseppe Bardari. mounting tension, its moments of highly but problems seem to have been handled to in the new Romantic literature that was The working relationship between the charged stillness and its explosive outcome, everyone’s satisfaction. Donizetti also had to beginning to spread down into Italy from experienced composer and the novice poet might be described as a grand concertato finale cope with mounting hostility between his two northern Europe. Rosmonda d’Inghilterra – (later a lawyer, magistrate and prefect of police) in embryo. leading ladies, Ronzi de Begnis and Del Sere, following Il castello di Kenilworth (Naples must have been rather similar to the Of course for operatic purposes the action press reports of which served to heighten 1830) and Anna Bolena (Milan 1830) – also relationship that developed some ten years later has to be further simplified; the momentous interest in the forthcoming premiere. This suggested that Donizetti was beginning, like between Verdi and Francesco Maria Piave. In historical context can barely be hinted at; the particular matter came to its climax at a dress so many of his Italian contemporaries, to look effect, reported the impresario Alessandro fascinating parallel characterizations that rehearsal when, in the words of the to British history as an alluring new field of Lanari, Bardari was preparing the libretto Schiller is so fond of cannot be contemporary periodical Teatri, Arti e dramatic themes. As he reflected on likely ‘under [Donizetti’s] dictation’. accommodated: there is no room for the Letteratura, ‘the ill-will of Mary so enraged subjects for a new Naples opera, English Donizetti was evidently convinced that his impulsive idealist Mortimer as well as the Elizabeth, by nature the more choleric, that history was again to the fore, Mary Tudor and literary model could be taken seriously, and ambiguous Leicester – or rather, Mortimer’s right in the middle of one finale she hurled Queen Elizabeth’s Earl of Essex the characters provide him with rather more than a mere passion is fused with Leicester’s political clout herself at her enemy, pulled her by the hair, that most intrigued him. An Essex opera, story-line. The attractiveness of Schiller’s Mary to create a character somewhat more in the boxed her ears, bit her, punched her in the Roberto Devereux, eventually materialized in as a heroine has been well observed by the vein of a conventional operatic lover. But only face, and almost broke her legs by kicking her 1837; hopes of a Maria Tudor foundered when critic Gary Schmidgall, who writes of ‘the somewhat more; for surely one of the striking furiously.’ 8 9 CHAN 3017 BOOK 2.qxd 1/4/07 16:27 Page 10 Such excitements notwithstanding, come to light, and God knows how. If I had imagine, dear friend, what a state I find myself has often been called the ‘Code Rossini’ may Donizetti felt that rehearsals had gone well, not done it it would have been done by in.’ The failure of the management to find a be illustrated by Mary’s Act II cavatina, a scene and that the opera had every prospect of a someone else after I had left the city, and they’d really good replacement Elizabeth helped that is more than usually close to Schiller since brilliant success.
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