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Donizetti: Maria Stuarda / Bonynge, Sutherland, Pavarotti


Release Date: 05/16/1990 
Label:  London/Decca Grand Opera Series Catalog #: 425410   Spars Code: ADD 
Composer:  Gaetano Donizetti
Performer:  Dame Joan SutherlandLuciano PavarottiRoger SoyerJames Morris,   ... 
Conductor:  Richard Bonynge
Orchestra/Ensemble:  Bologna Teatro Comunale ChorusBologna Teatro Comunale Orchestra
Number of Discs: 2 
Recorded in: Stereo 
Length: 2 Hours 3 Mins. 

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This CD is reissued by ArkivMusic.

Notes and Editorial Reviews

...[I]t says much for Joan Sutherland's powers as a tragic actress that in the same register as Sills she conveys a character far weightier and more intense, a genuinely tragic queen.

...The text of [this recording] is even more complicated to analyse since it is a conflation of various sources prepared by the conductor, Richard Bonynge... The Overture (dramatically unnecessary) is omitted..., and he cuts over half the first chorus including some very attractive 6/8 material. Though, again, broadly the text follows the Gerard edition, tiny linking motifs are omitted at many points, and many of the cabalettas and final ensembles are significantly shortened in the way that used to be common. Though you could argue that no
Read more substantial music is omitted (most of the cuts consisting of conventional coda material) it is a pity that such a fine cabaletta as that which ends the trio for Elizabeth, Leicester and Cecil in Act 3 could not be given its full length, so exuberantly dramatic is the performance here. There are other examples, too, that I regret, though when Donizetti himself seems to have countenanced all kinds of butchery on the score, there is no reason to be ultra-purist about it.

Bonynge also sanctions a number of transpositions, his aim seemingly to underline the contrast between a big soprano Maria Stuarda and a darkly contralto Elisabetta. Elisabetta's first aria for example is transposed down from G to F sharp, the intervening ensemble comes back to G before the cabaletta goes down to F sharp again, all rather fussy and presumably intended to bring out the darkest possible tones from Huguettc Tourangeau's voice. Repeatedly Tourangeau is encouraged to take a lower option, often transposing down an octave so that her tacky chest register can bray forth. The actual sentence of death on the cry "Mora" in Elisabetta's scene with Cecil in Act 3 is hairraising, when it goes down so resonantly to B flat below the stave. Throughout the roles of both queens the actual melodic lines are drastically rewritten, if very much in a way that is fully authentic... Needless to say Pavarotti as Leicester ends arias and ensembles on top notes not actually written, including a superb D flat alongside Sutherland at the end of Maria and Leicester's big duet in Act 2.

...Bonynge seems intent on creating a stage performance in the Italian tradition. ...Tourangeau, with her voice sounding more incisive than I remember before on record, conveys a portrait of meanness, a villainess of a queen—which after all ties up with the libretto... Pavarotti ardently turns [Leicester] into a passionate Italian lover in a more conventional but ripely satisfying operatic mould... [A]n enjoyable set...

-- Edward Greenfield, Gramophone [6/1976]
reviewing the original LP release of this recording
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Works on This Recording

1. Maria Stuarda by Gaetano Donizetti
Performer:  Dame Joan Sutherland (Soprano), Luciano Pavarotti (Tenor), Roger Soyer (Baritone),
James Morris (Bass Baritone), Margreta Elkins (Mezzo Soprano), Huguette Tourangeau (Mezzo Soprano)
Conductor:  Richard Bonynge
Orchestra/Ensemble:  Bologna Teatro Comunale Chorus,  Bologna Teatro Comunale Orchestra
Period: Romantic 
Written: 1835; Italy 
Date of Recording: 1975 
Length: 122 Minutes 50 Secs. 
Language: Italian 

Sound Samples

Maria Stuarda / Act 1: Introduzione ... Qui s'attenda
Maria Stuarda / Act 1: "Sì, vuol di Francia il Rege" - "Ah, quando all'ara" - "In tal giorno di contento"
Maria Stuarda / Act 1: Ah! quando all'ara scorgemi
Maria Stuarda / Act 1: Il tal giorno di contento
Maria Stuarda / Act 1: Ah! dal ciel discenda un raggio
Maria Stuarda / Act 1: "Fra noi perchè non veggio Leicester?"
Maria Stuarda / Act 1: Hai nelle giostre, o Talbo?
Maria Stuarda / Act 1: "Questa imago, questa foglio" - "Ah! rimiro il bel sembiante"
Maria Stuarda / Act 1: "Sei tu confuso?"
Maria Stuarda / Act 1: "Era d'amor l'immagine"
Maria Stuarda / Act 1: Sul crin la rivale la man
Maria Stuarda / Act 2: "Allenta il piè, Regina"
Maria Stuarda / Act 2: "O nube che lieve per l'aria"
Maria Stuarda / Act 2: Nella pace del mesto riposo
Maria Stuarda / Act 2: "Ah! non m'inganna la gioia!"
Maria Stuarda / Act 2: "Da tutti abbandonata"
Maria Stuarda / Act 2: Ah! se il mio cor tremò giammai
Maria Stuarda / Act 2: "Qual loco è questo?"
Maria Stuarda / Act 2: "E sempre la stessa"
Maria Stuarda / Act 2: "Deh! l'accogli" - "Morta al mondo, e morta al trono"
Maria Stuarda / Act 2: "Va, preparati, furente"
Maria Stuarda / Act 3: "E pensi? e tardi?"
Maria Stuarda / Act 3: Quella vita a me funesta - Regina! A lei s'affretta
Maria Stuarda / Act 3: Ah! Deh! per pietà sospendi
Maria Stuarda / Act 3: "D'una sorella, o barbara"
Maria Stuarda / Act 3: Vanne, indegno; t'appare nel volto
Maria Stuarda / Act 3: "La perfida insultarmi anche volea"
Maria Stuarda / Act 3: "Oh mio buon Talbot!" - "Delle miei colpe lo squallido
Maria Stuarda / Act 3: "Quando di luce rosea"
Maria Stuarda / Act 3: Lascia contenta il carcere
Maria Stuarda / Act 3: "Vedeste? - Vedemmo. Oh truce apparato!
Maria Stuarda / Act 3: "Anna! - Qui più sommessi favellate" - "Deh! vi rivedo alfin"
Maria Stuarda / Act 3: "Deh! Tu di un umile preghiera"
Maria Stuarda / Act 3: "Oh colpo!..."
Maria Stuarda / Act 3: "D'un cor che muore reca il perdono"
Maria Stuarda / Act 3: "Giunge il Conte"
Maria Stuarda / Act 3: "Ah! se un giorno"

Customer Reviews

Average Customer Review:  1 Customer Review )
 fine singing but shows its age January 16, 2013 By K. McLaughlin (New York, NY) See All My Reviews "Though there is much beautiful singing on this CD, the edition used bares little resemblance to the recent scholarly edition, with sometimes confusing cuts and re-ordering of numbers. The style seems quite old-fashioned - sedate in fact - in comparison to the dramatically realized performances currently in vogue. Nonetheless, the recording is worth having for the performances of Sutherland and Pavarotti in their vocal primes." Report Abuse
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