Donizetti Maria Stuarda

Fabrizio Maria Carminati, Orchestra del Teatro La Fenice - Donizetti: Maria Stuarda (2010) [Blu-Ray]

Fabrizio Maria Carminati, Orchestra del Teatro La Fenice - Donizetti: Maria Stuarda (2010) [Blu-Ray]
BluRay | BDMV | MPEG-4 AVC Video / 13969 kbps / 1080i / 29,970 fps | 140 min | 20,4 Gb
Audio1: Italian / LPCM Audio / 2.0 / 24-bit | Audio2: DTS-HD Master Audio / 5.1 / 48 kHz / 4096 kbps / 24-bit

BluRay-rip | AVC | MKV 1920x1080 (16:9) / 6215 kbps / 29,97 fps | 140 min | 7,28 Gb
Audio: Italian / DTS / 6ch / 48.0 KHz / 24-bit
Classical | C Major | Sub: Italian, English, German, French, Spanish

With his sharp and lively conducting, Fabrizio Maria Carminati puts the Orchestra of the Teatro La Fenice entirely at the service of three exceptional singers, Sonia Ganassi ("an extraordinary performance," Opera Today) as Elisabetta, Fiorenza Cedolins ("colorful, nuanced, highly dramatic heroine," Frankfurter Allgemeine Zeitung) as Maria Stuarda, and José Bros as a passionate Leicester. "Maria Stuarda" is the most popular work in Donizetti's trilogy of bel canto operas on Tudor queens.
Maurizio Benini, The Metropolitan Opera Orchestra - Donizetti: Maria Stuarda (2015) [Blu-Ray]

Donizetti - Maria Stuarda (Maurizio Benini, Joyce DiDonato, Elza van den Heever) (2015) [Blu-Ray]
BluRay | BDMV | MPEG-4 AVC Video / 32000 kbps / 1080i / 29,970 fps | 142 min | 41.1 Gb
Audio1: Italian / LPCM Audio / 2.0 / 24-bit | Audio2: Dolby Digital Audio / 5.1 / 48 kHz / 640 kbps / DN -4dB

BluRay-rip | AVC | MKV 1920x1080 / 6215 kbps / 29,97 fps | 142 min | 6,88 Gb
Audio: Italian / AAC / 6ch / 48.0 KHz / 640 kbps
Classical | Erato | Sub: Italian, English, French, German, Spanish

On New Year’s Eve 2012 Joyce DiDonato became the first singer to take the title role in Donizetti’s Maria Stuarda at New York’s Metropolitan Opera. With her at its heart, the production became, in the words of Opera magazine, “a high point of the season and of the company’s performance history of bel canto operas”.
Richard Bonynge, Joan Sutherland, Luciano Pavarotti - Donizetti: Maria Stuarda [1990/1976]

Donizetti - Maria Stuarda (Richard Bonynge, Joan Sutherland, Luciano Pavarotti) [1990/1976]
Classical | DECCA 425 410-2 | TT: 122.50 | EAC (flac, cue, log) | Covers | 508 Mb

This opera becomes a battle of the divas in its great second act, with Sutherland, as Mary Stuart, pitted against the jealous, paranoid, and vengeful Elizabeth I (Tourangeau). There is an intensely dramatic confrontation in which insults are violently exchanged between the powerful monarch and her imprisoned but still regal rival to the throne. Mary wins the battle of insults, but this is a dangerous victory over one who has the power of life and death. Elizabeth orders Mary's execution and Act III becomes a spectacle of pathos and horror. Sutherland's usual style is more attuned to pathos than to the swapping of insults, but she rises splendidly to the challenges of Act II and she has a splendid supporting cast. (Joe McLellan)
Giuseppe Patane, Munchner Rundfunkorchester, Edita Gruberova, Agnes Baltsa - Donizetti: Maria Stuarda [1990]

Donizetti - Maria Stuarda (Giuseppe Patanè, Edita Gruberova, Agnes Baltsa) [1990]
Classical | Philips 426 233-2 | TT: 133.26 | EAC (flac, cue, log) | Covers | 519 Mb

How this opera grows in the affections. And how it strengthens the larger, ever-deepening appreciation not merely of Donizetti's work but of operatic conventions as such. I mean that the frequently derided forms of opera (the set pieces, aria-and-cabaletta and so forth) can increasingly be a source of pleasure and of perceived power in the writing. Here, for instance, part of the exhilaration arises out of the composer's skill in suiting the conventions to his dramatic and musical purposes. Elizabeth's first aria, meditatively hopeful yet anxious, fits the lyric-cantabile form; then the arrival of Talbot and Cecil with their opposing influences provokes the intensified turbulence of irresolution that makes dramatic sense out of the cabaletta. It is so with the duets and ensembles: they look like conventional set-pieces, but established form and specific material have been so well fitted that, with the musical inspiration working strongly (as it is here), you have opera not in its naive stage awaiting development towards freedom from form but, on the contrary, opera at the confident height of a period in its history when it was entirely true to itself.
Donizetti - Maria Stuarda (Antonio Fogliani, Anna Caterina Antonacci, Mariella Devia) [2008]

Donizetti - Maria Stuarda (Antonio Fogliani, Anna Caterina Antonacci, Mariella Devia) [2008]
NTSC 16:9 (720x480) VBR Auto Pan&Scan | Italiano (LPCM, 2 ch); (Dolby AC3, 6 ch) | 7,24Gb (DVD9)
Classical | Label: Art Haus Musik | Sub: Deutsch, English, Francais, Espanol, Italiano, Japanese | 138 min

Two queens on one island. A recipe for disaster. Especially as both have a legitimate claim to the other’s throne. They are, after all, related… So the power politics are the name of the game. And, for reasons of state, one of the heads that wears a crown has to roll…
Donizetti - Maria Stuarda (Riccardo Frizza, Laura Polverelli, Maria Pia Piscitelli) [2009]

Donizetti - Maria Stuarda (Riccardo Frizza, Laura Polverelli, Maria Pia Piscitelli) [2009]
NTSC 16:9 (720x480) VBR Auto Pan&Scan | Italiano (Dolby AC3, 2 ch) | 5,05 Gb (DVD9)
Classical | Label: Naxos | Sub: English, Italiano | 122 min | +3% Recovery

The composition of Maria Stuarda was fraught with complications. After the completion of Lucrezia Borgia in 1833 the librettist Felice Romani withdrew from further collaborations and Donizetti, who was already contracted for a production at San Carlo in Naples, more or less in panic engaged the amateur poet Giuseppe Bardari in Romani’s place. The music was composed during the summer of 1834 and in September the dress rehearsal took place. The following day, however, the King of Naples cancelled the performance of the opera on the grounds that ‘the presentation of operas and ballets of tragic arguments should always be prohibited’. Donizetti reworked his opera into Boundelmonte in less than a fortnight, the premiere took place on 14 October with the action moved from Tudor England to Renaissance Italy. It was not a success.
– Göran Forsling, MusicWeb International
Donizetti - Maria Stuarda (Fabrizio Maria Carminati, Fiorenza Gedolins, Sonia Ganassi) [2011]

Donizetti - Maria Stuarda (Fabrizio Maria Carminati, Fiorenza Gedolins, Sonia Ganassi) [2011]
NTSC 16:9 (720x480) VBR Auto Pan&Scan | Italiano (LPCM, 2 ch); (DTS, 6 ch) | 7.23 Gb (DVD9)
Classical | Label: Unitel Classica | Sub: Italiano, English, Deutsch, Francais, Espanol | 140 min | +3% Recovery

Despite having to mentor a 17-year-old law student through the versifying of the libretto for Maria Stuarda in 1834, when it was finally finished Gaetano Donizetti believed that he and the young man, Giuseppe Bardari, had created a powerful and high-quality opera for the eagerly expectant Naples public. He was quite disappointed then, when the Bourbon King of Naples absolutely refused to allow its performance (the King’s wife was a distant descendant of the Catholic Stewart queen, whom many Italians considered a martyr to her religion). Troubling to the censors was not only the subject of a beheaded Catholic royal, but also the strongly emotional and bitter interchange between the two queens in their act II confrontation at Fotheringhay Castle (an interchange that historically never occurred; the two queens never met in real life)…
FANFARE: Bill White
Legendary Performances of Carreras: Donizetti - Maria Stuarda (Nello Santi, Montserrat Caballe, Jose Carreras)

Legendary Performances of Carreras: Donizetti - Maria Stuarda (Nello Santi, Montserrat Caballé, José Carreras) [2007/1972]
EAC Rip | FLAC, IMG+CUE, LOG | Covers | 2cd, 405 MB
Classical | Bravissimo | BRV 9909 | CD1:62'55; CD2:56'24

All of these are live recordings so the sound is quite variable. The standard square box contains separate soft plastic sleeves in which the cds are inserted. The advantage is that the cds are well protected (minor risk for scrapes compared to cardboard), but there is no information printed on the sleeve since it is made of plastic. There is some basic information printed on each cd (name, composer, cd #, the act/s and the date of the recording). There is also a small 24pg booklet that introduces the box including some photos as well as content description for each disc (opera, singers, time and location as well as a list of the separate tracks). I have been collecting these boxes for a while and always find it worthwhile as there are gems nicely interspersed in these collections. By Moonfish

Donizetti - Maria Stuarda (Aldo Ceccato, Beverly Sills)  Music

Posted by Sowulo at July 15, 2014
Donizetti - Maria Stuarda (Aldo Ceccato, Beverly Sills)

Donizetti - Maria Stuarda (Aldo Ceccato, Beverly Sills) [2010]
EAC Rip | FLAC, IMG+CUE, LOG | Covers | 2cd, 642 MB
Classical | Label: Brlliant Classics | Catalog Number: 93963 | TT: CD1:72’35; CD2:79’26

Despite the obvious advantage of hearing Beverly Sills in one of her celebrated Three Queens roles, for many opera aficionados there will be an almost equal attraction in being able to hear Eileen Farrell as Elisabetta. She was an under-recorded artist who curtailed her opera career early and there is a special thrill in haring her huge, slightly unwieldy dramatic soprano negotiate Donizetti's florid lines. Her voice obviously contrasts strongly with Sills' lyric coloratura soprano and even though I prefer the great mezzo Dame Janet Baker above all as the doomed Mary Stewart, as long as there is sufficient contrast between the two queens the drama works..
Donizetti - Maria Stuarda (Maurizio Benini, Joyce DiDonato, Matthew Polenzani)

Donizetti - Maria Stuarda (Maurizio Benini, Joyce DiDonato, Matthew Polenzani) [2014]
NTSC 16:9 (720x480) VBR Auto Pan&Scan | Italiano (LinearPCM, 2 ch) Italiano (Dolby AC3, 6 ch) | 7.57 Gb (DVD9)
Classical | Erato | Sub: Italiano, English, Francais, Deutsch, Espanol | 142 min | +3% Recovery

The Met's belated foray into the complete Donizetti "Tudor trilogy" began inauspiciously in 2011 with a season-opening David McVicar production of ANNA BOLENA showcasing Anna Netrebko. Hobbled out of the gate by the pregnancy-necessitated withdrawal of mezzo Elīna Garanča (whose Jane Seymour had been the best thing about a recent-past production from Vienna, now on DVD), it was further undermined by an Anna whose temperament only partially compensated for a smudgy florid technique and a big lyric rather than truly dramatic voice, hoarsening toward the end of the work's two long acts. The director, too, was largely unsuccessful in his attempts to make a long and oft-static work dynamic, and costume and set designs were notably dreary. The prospect of a new MARIA STUARDA the following season helmed by the same director did not inspire great enthusiasm, but this was as much a hit as the BOLENA had been a miss, and a standout of the 2012-13 season… By Todd Kay