Act III Scene 1: Still pensive? Still delaying? (Cecil, Elizabeth)
Act III Scene 1: While she's living I'm still in danger (Cecil, Elizabeth)
Act III Scene 1: Your Highness! You do but speed her execution (Leicester, Elizabeth, Cecil)
Act III Scene 1: You have conspired a sister's death (Leicester, Elizabeth, Cecil)
Act III Scene 2: Elizabeth will continue to mock and insult me (Mary, Cecil)
Act III Scene 2: Oh faithful Talbot! (Mary, Talbot)
Act III Scene 2: Once all the radiant joys of youth (Mary, Talbot)
Act III Scene 2: There still remains another charge (Mary, Talbot)
Act III Scene 2: No, I never turned from my Saviour (Mary, Talbot)
Act III Scene 2: Go leave this world of grief behind (Mary, Talbot)
Act III Scene 3: You saw them? (Chorus)
Act III Scene 3: Hannah! Do not disturb her (Hannah, Mary, Chorus)
Act III Scene 3: Oh, deign to hear our prayer, merciful Saviour! (Hannah, Mary, Chorus)
Act III Scene 3: The signal (All, Cecil, Mary)
Act III Scene 3: Death hovers near me, so take my pardon (Mary, Hannah, Talbot, Cecil, Chorus)
Act III Scene 3: Leicester approaches (Talbot, Mary, Leicester, Cecil)
Act III Scene 3: Though you once made a vow to protect me (Mary, Leicester, Talbot, Hannah, Chorus, Cecil)
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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Prelude
