Search - Saverio Mercadante, Antonello Allemandi, Philharmonia Orchestra of London :: Mercadante: Maria Stuarda [Highlights]

Interesting, if flawed, Maria Stuarda

M. Hall | OH, USA | 06/24/2008

(4 out of 5 stars)

"When thinking of an opera about the ill-fated Mary, Queen of Scots, one would normally jump immediately to the "Maria Stuarda" of Donizetti, a contemporary of Mercadante. Donizetti's opera is a gut-wrenching, if highly fictionalized, account of Mary Stuart's last days in captivity. Due to the sensationalism of the highly touted Confrontation Scene and the gorgeous music of Donizetti, it's not hard to figure out why his opera has remained much more popular than that of his contemporary. However, this "Maria Stuarda" is pleasing in its own way.



Mercadante was a close colleague of Rossini and can be considered one of the co-founders of the Bel-Canto era, even if his contributions are largely forgotten. His earlier take on the reign of Mary Stuart deals not with her last days as a prisoner, but rather, it involves the troubles of her early reign after having returned from France to find Scotland being torn apart by the religious factions of Catholics and Presbyterians. Censorship was a problem that plagued both Mercadante and Donizetti when writing about the various Queens of the Stuart/Tudor era, and the former found it difficult to write about the political turmoil without mentioning too much about the religious issues of the day. As such, the opera is left in a slightly awkward position. Regardless of this problems of the libretto, the opera seems to be fairly entertaining, though not quite groundbreaking.



Mercadante has left a piece with some beautiful music. The choral pieces, ensembles, duets, and arias are really rather good; it is unfortunate though that Opera Rara chose only to record the highlights of the opera, for the listening is left wondering if there is something truly good that would have made this a better selection in the long-run. One wonders why Opera Rara even bothered to record the piece at all if they didn't feel compelled to do the whole thing (though the complete libretto is enclosed, along with a detailed essay and various other nice supplemental materials).



The singers are fairly decent, at least in my opinion. Of the entire cast, I had only heard anything by Jennifer Larmore in the past. Despite not being the title character Madame Larmore is truly the star of the opera, as the Earl of Lennox (the love interest type character for Mary Stuart). Her powerful mezzo voice is agile and flexible, though with great beauty. I should imagine it to be a fair enough assumption to say that Larmore is the leading American soprano of the day, rivaled by few in her field. Her colleagues in this recording are good, if nothing quite to write home about. Judith Howarth, as Maria, is quite good, though one might wish for a bit more smoothness and beauty when she sings.



Despite the flaws of being an abridged version, I must say that this is a most satisfactory recording- especially as it is the only one of the opera. Don't be put off by Opera Rara's decision to only record the highlights, it's well worth the price of the CD to see the beginnings of Bel-Canto come to fruition."

A Top Notch Favorite

W. Burton | NY & LA USA | 07/22/2008

(5 out of 5 stars)

"Number one: The world has been sitting far too long without large doses of Mercadante. A passionate, brilliant melodist, Mercadantes' rousing works inspire the soul to dance and hum along if one can, since subtle intricacies surprise the listener and what seems to be a melodies' natural course, twists just enough "out of the box" to make it unique and surprizing. A Donizetti contemporary - he might be said to have been the edgier one. Bless them both, but do give Saverio his due.



Number two: This particular work, Maria Stuarda regina di... is a sublime highlights offerring. It is one of the best I've encountered, particularly in light of the full libretto with markings for the sung and unsung. It works, because the music is so varied and the story so simple. It works because the talented cast and conductor are devoted to rock-solid ensemble performance. The arias, duets, the trios, the choruses are often breathtaking and the performer's characters could not have been molded better by The Actors Studio.



Number three: Everyone calm down and realize, that all performances are not funded nor gifted with everyone or everything they need for the "Grand Affair" of making opera. So choices are made. "How can we best present with what we have", is a typical, noble reaction to the difficulties which surround many great performances. That's likely to have happened here - and - out of the spare, has come a ravishing Maria, thoroughly fulfilling and far superior to most opera recordings, let alone highlight renderings. All one has to do is listen to the dreadful mish-mash of ORs L'Esule di Granata Highlights to notice.



Get into this piece, libretto in hand and read along at first hearing. You will be bowled over - and of all things, at Mary Stuart's happy years. Who'd have thunk it? Bravo OR!"