Donizetti Maria Struada

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.
Gregory Kunde, Orchestra e Coro del Bergamo Musica Festival Gaetano Donizetti - Donizetti: Maria di Rohan (2014/2011)

Gregory Kunde, Orchestra e Coro del Bergamo Musica Festival Gaetano Donizetti - Donizetti: Maria di Rohan (2014/2011)
NTSC 16:9 (720x480) VBR | Italiano (LinearPCM, 2 ch) | 7.16 Gb (DVD9) | 120 min
Classical | Bongiovanni | Sub: Italiano, English, Japanese

In its original form, Maria di Rohan was without doubt the most audacious result – pre-Verdi – of aesthetic transformation beyond the courtly dramas of “long Italian classicism”. The opera’s intrigue develops like an unstoppable machine: the fatal triangle formed by Maria, Chalais and Chevreuse being the work of Richelieu’s absolute power (despite never appearing on stage). Like trapped animals, the characters hopelessly search for a way out, and they devour each other in turn. Recorded at the Bergamo Donizetti Festival, October 2011, this is the first DVD release of Donizetti’s 1843 opera.
David Parry, Philharmonia Orchestra - Donizetti: Maria de Rudenz [1998]

David Parry, Philharmonia Orchestra - Donizetti: Maria de Rudenz [1998]
Classical | Opera Rara ORC16 | TT: 57.49+75.24 | EAC (flac, cue, log) | Covers | 530 Mb

Cammarano’s horrific libretto is given some of Donizetti’s most beautiful music. After eloping with her lover and being deserted by him, Maria is believed dead but returns home to discover her father has died and left everything to her cousin Matilde. Maria’s ex-lover stabs her and again Maria is believed dead, but in the gripping final scene – a gift for a soprano – Maria stabs Matilde and then confronts Corrado, telling him in her dying moments that she still loves him. This scene alone was enough to ensure many productions throughout Italy and Europe in Donizetti’s lifetime and beyond.
Alun Francis, London Symphony Orchestra - Donizetti: Maria Padilla [1992]

Alun Francis, London Symphony Orchestra - Donizetti: Maria Padilla [1992]
Classical | Opera Rara ORC6 | TT: 50.39+41.18+59.28 | EAC (flac, cue, log) | Covers | 699 Mb

The most enduring number from this opera was the duet of Maria and her sister Ines, which became a popular concert piece in the 19th century. Maria is the mistress of Pedro the Cruel of Castile. Her father, Ruiz, discovers the identity of her lover and, burdened by shame, loses his reason. Donizetti rises to this dramatic challenge, writing a poignant mad scene – this time for a tenor voice. This was a very successful opera for Donizetti, written in 1841.
Aldo Ceccato, London Philharmonic Orchestra, Beverly Sills - Donizetti: Maria Stuarda (2001)

Aldo Ceccato, London Philharmonic Orchestra, Beverly Sills - Donizetti: Maria Stuarda (2001)
EAC | FLAC | Image (Cue & Log) ~ 687 Mb | Total time: 72:35+79:26 | Scans included
Classical | Label: Brilliant Classics | # 93963 | Recorded: 1971

Maria Stuarda is one third of the so-called "three queen" trilogy that defined much of the career of Beverly Sills (along with Lucia, the three Hoffmann heroines, and Manon) in the early 1970s. It was quite an undertaking, and each–Stuarda, Anna Bolena, and Roberto Devereux–was recorded by the since-disapppeared ABC Audio Treasury Series. For reasons opera lovers have been wondering about for years, the recordings went out of print pretty quickly; but now, handsomely remastered, they are making their first appearance on CD, both individually and as a three-opera set. Stuarda also has been recorded by Joan Sutherland and Janet Baker (in a version Donizetti prepared for the lower-voiced Maria Malibran), and there are at least three "private" sets I know of with Montserrat Caballé in the title role.
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