On January 14, 2023, the Teatro Real premiered Maria Stuarda, the opera by Donizetti, showcasing the intense rivalry between Mary Stuart and Elizabeth I through captivating performances and exquisite costumes. This production aims to breathe new life to rarely performed works, immersing the audience in the political and personal turmoil of the two queens.
The opera’s elaborate costumes were the result of extensive effort by Ovidio Ceñera, Head of Wardrobe and Characterization at Teatro Real. He noted, "Son sedas naturales. Son telas muy fieles a la época..." illustratively emphasizing their dedication to historical fidelity. The department employed natural fabrics and authentic styles to recreate the grandeur of the 16th century, including exact replicas of royal attire worn by figures like Queen Elizabeth I.
Casting for the show featured notable singers like Lisette Oropesa, who played the title role, and Silvia Tro Santafé as Isabel I, with their interpretation firmly anchoring the dramatic essence of the piece. Tro Santafé humorously remarked on her heavy costume, "Dios mío, esto no lo puedo llevar... pero sí... son diecisiete kilos en total," highlighting the physical challenges faced by performers.
The portrayal of such historical figures also invited reflections on personal struggles. Tro Santafé expressed, "Me gusta mucho hacer de mala... Es lo que puedo decir... es mucho más divertido que hacer de buena," indicating her enjoyment in embodying the role of Elizabeth, where the lines between villainy and virtue blur amid political strife.
The opera has historical roots dating to 1834 during the rehearsal at San Carlo in Naples, where the soprano Giuseppina Ronzi de Begnis famously clashed with her co-star, leading to backstage drama and even hospitalization. The fierce rivalry resonates with the opera's theme, as expressed through the words spoken during the stand-off, "figlia impura di Bolena, parli tu di disonnore? Meretrice indegna, oscena [...] vil bastarda," highlighting the personal dynamics entwined with their political tensions.
Yolanda Auyanet portrayed Mary Stuart, bringing historical tragedy to life. She remarked on the dire fate of her character: "Cuando volvió a su tierra, a Escocia, empezó a ir todo mal..." emphasizing the downfall leading to her eventual execution. This depiction narrates not only the story of political intrigue but humanizes Mary as she grapples with betrayal and hopelessness.
The opera’s music intertwines beautifully with its narrative, showcasing moments of both brilliance and somber beauty, especially as the plot drives toward its tragic conclusion. The orchestral performance under José Miguel Pérez-Sierra was praised for its balance and respect for the bel canto style, allowing the singers to express their characters through their voices. The coordination was particularly lauded during group numbers, where all voices mingled to create powerful musical dialogues.
Critical responses noted the challenges faced by singers, especially Oropesa's vocal lightness being less suited for the dramatic intensity of Maria. She demonstrated exquisite technique and emotional depth, particularly in the gripping final scene where she declared, "No deseo a Inglaterra que caiga en manos de un Dios vengador," encapsulating her inner turmoil as she faced her grim fate.
The performance also witnessed impressive displays from the other members of the cast. Aigul Akhmetshina's portrayal of Elizabeth stood out for her vocal depth and dramatic interpretation, capturing the complexity of her character. Critics noted her initial hesitance, resulting from nervousness, but acknowledged her ability to deliver emotional performances later on. Ismael Jordi as Leicester and other cast members brought forth their unique flavors, enhancing the overall experience.
Through rich ensembles and heartfelt performances, the production of Maria Stuarda at Teatro Real succeeded not only as entertainment but as bearers of historical reflection and emotional communication. The endeavor to present such operatic gems showcases the Teatro Real's commitment to diversifying its repertoire and confronting past narratives through the lens of modern performance.
The audience's reception reflected appreciation for both artistic rigor and emotional storytelling, marking Maria Stuarda's re-entry onto the operatic stage as both significant and necessary. This production stands as testimony to the enduring power of opera to reflect human struggles across the ages.
