Name: Donizetti: Mary Stuart
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This revival celebrates the association of Janet Baker and Charles Mackerras within the context of the ENO company and one of its most memorable productions. For those who saw this, the set... — Gramophone Classical Music Guide, 2010 More…

Catalogue No: CHAN3017(2)
Label: Chandos
Series: Opera in English
Length: 2 hours 15 minutes

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Donizetti: Maria Stuarda (Mary Stuart) (sung in English)

Work length2:15:57

$44.00

$57.20

Alan Opie (baritone), John Tomlinson (bass), Dame Janet Baker (mezzo-soprano), Rosalind Plowright (soprano), David Rendall (tenor), Angela Bostock (soprano)
English National Opera Chorus, English National Opera
Sir Charles Mackerras

Prelude

Track length1:36

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Act I: Let us wait here (Voice, Chorus)

Track length2:34

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Act I: Yes, but the French Prince is seeking … (Elizabeth)

Track length1:12

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Act I: If fortune one day should send to me … (Elizabeth)

Track length3:15

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Act I: In this moment of rejoicing (Talbot, Elizabeth, Cecil, Chorus)

Track length1:49

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Act I: May the light of wisdom and justice (Elizabeth, Cecil, Chorus)

Track length4:24

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Act I: But, where is the Earl of Leicester? (Elizabeth, Cecil, Leicester)

Track length2:11

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Act I: Did you not ask to see me, earlier today? (Leicester, Talbot)

Track length2:15

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Act I: I remember these lovely features (Leicester, Talbot)

Track length3:37

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Act I: If she dare trust in me (Leicester, Talbot)

Track length1:47

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Act I: Do I disturb you? (Elizabeth, Leicester)

Track length2:09

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Act I: How affecting … Is she relenting? (Elizabeth, Leicester)

Track length1:46

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Act I: When I first looked upon her face (Elizabeth, Leicester)

Track length4:36

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Act I: My arrogant rival has long sought to rob me (Elizabeth, Leicester)

Track length2:21

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Act II: Why run so fast, my lady? (Hannah, Mary)

Track length3:00

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Act II: You murmuring breezes … (Mary)

Track length3:45

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Act II: What tumult! Those voices! (Mary, Hannah, Chorus)

Track length0:55

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Act II: In the peace of my gloomy seclusion (Mary, Hannah, Ladies)

Track length3:35

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Act II: Ah! May this joy not deceive me (Mary, Leicester)

Track length1:46

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Act II: Long by the world forsaken (Mary, Leicester)

Track length4:34

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Act II: All too well I surely know her! Ah! Though my spirit never faltered (Mary, Leicester)

Track length3:27

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Act II: What place is this then? (Elizabeth, Leicester, Cecil, Talbot, Mary)

Track length2:24

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Act II: Report has not failed me (Elizabeth, Mary, Talbot, Hannah, Leicester, Cecil)

Track length2:38

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Act II: Bid her welcome! (Leicester, Elizabeth, Talbot, Mary)

Track length0:41

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Act II: Dead to justice, throne and kingdom (Mary, Cecil, Elizabeth, Leicester, Talbot)

Track length7:18

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Act II: Go, prepare yourself for sentence (Mary, Cecil, Elizabeth, Leicester, Talbot)

Track length2:07

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Act III Scene 1: Still pensive? Still delaying? (Cecil, Elizabeth)

Track length4:01

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Act III Scene 1: While she's living I'm still in danger (Cecil, Elizabeth)

Track length3:39

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Act III Scene 1: Your Highness! You do but speed her execution (Leicester, Elizabeth, Cecil)

Track length4:51

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Act III Scene 1: You have conspired a sister's death (Leicester, Elizabeth, Cecil)

Track length3:44

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Act III Scene 2: Elizabeth will continue to mock and insult me (Mary, Cecil)

Track length4:52

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Act III Scene 2: Oh faithful Talbot! (Mary, Talbot)

Track length5:04

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Act III Scene 2: Once all the radiant joys of youth (Mary, Talbot)

Track length4:17

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Act III Scene 2: There still remains another charge (Mary, Talbot)

Track length0:58

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Act III Scene 2: No, I never turned from my Saviour (Mary, Talbot)

Track length1:25

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Act III Scene 2: Go leave this world of grief behind (Mary, Talbot)

Track length3:04

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Act III Scene 3: You saw them? (Chorus)

Track length6:30

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Act III Scene 3: Hannah! Do not disturb her (Hannah, Mary, Chorus)

Track length4:41

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Act III Scene 3: Oh, deign to hear our prayer, merciful Saviour! (Hannah, Mary, Chorus)

Track length4:03

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Act III Scene 3: The signal (All, Cecil, Mary)

Track length1:27

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Act III Scene 3: Death hovers near me, so take my pardon (Mary, Hannah, Talbot, Cecil, Chorus)

Track length4:02

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Act III Scene 3: Leicester approaches (Talbot, Mary, Leicester, Cecil)

Track length2:20

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Act III Scene 3: Though you once made a vow to protect me (Mary, Leicester, Talbot, Hannah, Chorus, Cecil)

Track length5:17

$1.00

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Reviews
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Reviews

2010

This revival celebrates the association of Janet Baker and Charles Mackerras within the context of the ENO company and one of its most memorable productions. For those who saw this, the set will call the stage back to mind with wonderful vividness; but the appeal goes well beyond that, preserving a performance stamped with the strong individuality that confers the status of a gramophone classic. This brought a personal triumph for Janet Baker and it impresses afresh by the distinctiveness of her vocal characterisation. It isn't every singer who reflects, or re-creates, the distinctive identities through vocal colour and 'registration'. Everyone who was there will remember the 'Royal bastard!' in confrontation with Elizabeth, but equally powerful, and more regal, is her command – 'Be silent! Leave me!' – to the Lord Chancellor of England who brings to Fotheringay news of her condemnation to death. By contrast, the quieter moments can be immensely moving, as, for instance, in the line in which she acknowledges an unexpected generosity in her great opponent. In that role, Rosalind Plowright gives what surely must have been one of the supreme performances of her career.
The writing for Elizabeth makes immense demands of the singer, and in these fearsome opening solos the technical challenges are triumphantly met.
John Tomlinson's massive bass commands attention (which it doesn't then always reward with evenness of production). The male soloists have not the most grateful of roles, but Alan Opie's Cecil shows its quality in the duet with Elizabeth, and David Rendall endows the ineffectual Leicester with plenty of Italianate ardour. The chorus has limited opportunities, and has certainly been heard to better advantage on other occasions.
A word of warning must be added concerning texts which involve cuts and adaptations. The transpositions are defended as standard practice when an exceptional mezzo-soprano (such as Malibran) took a soprano role, in the present instance merely conforming to the lower orchestral pitch of Donizetti's time. However, it's unlikely that at this date the set would be bought or rejected with this kind of consideration foremost.
What remains are the strong positives, most notably the vitality of Mackerras's conducting and the glory of Baker's singing. Also, for those to whom this is a priority, the opera is given in clear English.

Special offer. Donizetti: Mary Stuart

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