Donizetti: Mary Stuart

Chandos: CHAN3017

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Donizetti: Mary Stuart

Label:

Chandos

Catalogue No:

CHAN3017
(CHAN 3017)

Discs:

2

Barcode:

0095115301722

Length:

2 hours 15 minutes

Medium:

CD (download also available)
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Donizetti: Mary Stuart


Donizetti:

Maria Stuarda

Sung in English (translation by Tom Hammond)


Dame Janet Baker (Mary Stuart), Rosalind Plowright (Elizabeth I), David Rendall (Robert Dudley, Earl of Leicester), Alan Opie (Sir William Cecil), John Tomlinson (George Talbot, Earl of Shrewsbury), Angela Bostock (Hannah Kennedy)

English National Opera Orchestra, English National Opera Chorus, Sir Charles Mackerras

CD - 2 discs

$22.00

(also available to download from $21.00)

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

playPrelude

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

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

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

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

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

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

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

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

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

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

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

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

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

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

playAct II: You murmuring breezes … (Mary)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Gramophone Classical Music Guide

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.”

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