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Most Helpful Customer Reviews
11 of 11 people found the following review helpful
Format:Audio CD
The plot of Maria Stuarda is a fantasy based on reality - the political differences between Elizabeth I and Mary Stuart. Overlaid with a bit of sexual jealousy, the enormous tensions dragged a thrilling score out the composer, with the result that here we have the best of Donizetti's 'Tudor Queens' operas.
Dame Joan was tipping into the 'cooing' style of singing at this time, but the voice is vigorous and fresh, especially when faced with the Elizabeth of Hugette Tourangeau (fantastic). Pavaraotti was still in the blush of youth and his voice is thrilling. Bonynge does his usual job of keeping the orchestra and proceedings well under (bouncy) control. The 1960's recording is clean and bright.
This was the first Donizetti recording I bought (too many years ago to confess)and it is still one to which I frequently return.
Absolutely stunning - a classic
5 of 5 people found the following review helpful
Format:Audio CD
This Maria Stuarda was recorded in 1975 when Joan Sutherland's voice had already developed in a true dramatic coloratura, with an incredible low register and a heavier and more metallic timbre. However, she could still fit perfectly the highest notes. It means her voice was in her best vocal performance for a role like Maria Stuarda. Besides, she gives us a strong and intelligent interpretation of Maria Stuarda. In the powerful scene in which the two rivals (Maria and Elisabetta) meet, she cries "Figlia impura di Bolena" emphasizing in each word and shouting "Vil bastarda!" with force and hate. On the other hand, in the final scene she is kind of trying not to cry, but the sadness is marked in her voice.
The rest of the cast is not less incredible. Huguette Tourangeau has a dark and melifluous voice that fits very well in the role of Elisabetta and Luciano Pavarotti was in his most absolute prime. Richard Bonynge's conducting follows the singers with harmony and style.
In a vocally and dramatically demanding opera such as Maria Stuarda nobody could do it better than this incredible cast formed by Sutherland, Pavarotti, Tourangeau and Bonynge.
Highly recommended.
The rest of the cast is not less incredible. Huguette Tourangeau has a dark and melifluous voice that fits very well in the role of Elisabetta and Luciano Pavarotti was in his most absolute prime. Richard Bonynge's conducting follows the singers with harmony and style.
In a vocally and dramatically demanding opera such as Maria Stuarda nobody could do it better than this incredible cast formed by Sutherland, Pavarotti, Tourangeau and Bonynge.
Highly recommended.
1 of 1 people found the following review helpful
Format:Audio CD
Yes, it's Sutherland's voice by the 1970's which causes the most upset in the coloratura apple-cart. But by now she was developing very different qualities and suiting them to rather more mature heroines - psychologically as well as in years. For this transition she was well suited. The voice, like the whole human being, necessarily changes over the years. There is little point in expecting the Mary of Maria Stuarda to sing like the songbird of a 20-year-old. When she was beheaded at the age of 44 she was a plump unhealthy woman whose 20-year captivity in numerous damp castles had nearly robbed her of life on more than one occasion. Sutherland's singing is not inappropriate to the dramatic realism, and,as always,the line of the bel canto is wonderfully supported by her legato technique. The only concession to florid display comes in the cabaletta of her opening aria (Act II) and her agility 'in alt' remains stunning. Characteristically, Sutherland gives due emphasis to the pathos in the role but she is more than equal to the fire-snorting confrontation with Elizabeth and the frustrated passion for Leicester (as romantic hero). Bonynge omits the overture (no great loss), opting for the prelude instead. In my view the performance builds well to the final ascent to the scaffold, and Sutherland makes the part an object-lesson in creating a richly satisfying account of Mary's tormented, yet fascinating destiny. A fine testament to a late-lamented, much-loved soprano who never failed to take on risks. I rate this as one of her most successful recordings.
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Most Recent Customer Reviews
Diva confrontation
This opera relates the stormy relationship between Elizabeth I of England and Mary Queen of Scots - of course it is all fiction as the two queens never met in real life. Read more
Published 6 months ago by Michel
No queen like an Old Queen!
Your view of this set will depend greatly on whether you like Dame Joan Sutherland's later singing or not. For my taste this recording came too late in a very long career. Read more
Published on 26 Nov 2007 by lionheart
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