Track Listing

Disc 1:

1. Act 1. Preludio
2. Act 1. No. 1. Coro di festa. Qui si attenda
3. Act 1. No. 2. Scena e Cavatina. Si, vuol di Francia il Rege - Ah, quando all'ara
4. Act 1. No. 2. Scena e Cavatina. In tal giorno di contento
5. Act 1. No. 3. Scena. Fra noi perché non veggio Leicester?
6. Act 1. No. 4. Cavatina. Questa imagio, questo foglio
7. Act 1. No. 5. Scena e Duetto. Sei tu confuso?
8. Act 1. No. 5. Scena e Duetto. Era d'amor l'immagine
9. Act 2. No. 6. Scena e Cavatina. Allenta il piè, Regina
10. Act 2. No. 6. Scena e Cavatina. O nube che lieve per l'aria
11. Act 2. No. 6. Scena e Cavatina. Nella pace nel mesto riposo
12. Act 2. No. 7. Scena e Duetto. Ah! non m'inganna la gioia
13. Act 2. No. 7. Scena e Duetto. Da tutti abbandonata
14. Act 2. No. 8. Scena. Qual loco è questo?
15. Act 2. No. 9. Sestetto. E sempre la stessa
16. Act 2. No. 10. Dialogo delle due Regine. Deh! l'accogli
17. Act 2. No. 10. Dialogo delle due Regine. Morta al mondo, e morta al trono
18. Act 2. No. 11. Stretta finale. Va, preparati, furente

Disc 2:

1. Act 3. No. 12. Duettino. E pensi? e tardi?
2. Act 3. No. 12. Duettino. Quella vita a me funesta
3. Act 3. No. 13. Terzetto. Regina! A lei s'affretta il supplizio / Deh! per pietà sospendi
4. Act 3. No. 13. Terzetto. D'una sorella, a barbara
5. Act 3. No. 14. Scena. La perfida insultarmi anche volea
6. Act 3. No. 15. Gran Scena e Duetto della confessione. Oh mio buon Talbot!
7. Act 3. No. 15. Gran Scena e Duetto della confessione. Delle mie colpe lo squallido fantasma
8. Act 3. No. 15. Gran Scena e Duetto della confessione. Quando di luce rosea
9. Act 3. No. 15. Gran Scena e Duetto della confessione. Un'altra colpa a piangere
10. Act 3. No. 15. Gran Scena e Duetto della confessione. Lascia contenta al carcere
11. Act 3. No. 17. Gran Scena e Preghiera degli Scozzesi. Anna! Qui più sommessi favellate
12. Act 3. No. 17. Gran Scena e Preghiera degli Scozzesi. Deh! Tu di un umile preghiera
13. Act 3. No. 18. Aria del supplizio. Oh colpo...!
14. Act 3. No. 18. Aria del supplizio. D'un cor che muore recha il perdono
15. Act 3. No. 18. Aria del supplizio. Giunge il Conte
16. Act 3. No. 18. Aria del supplizio. Ah! se un giorno

Product Details

• Amazon Sales Rank: #538848 in Music
• Released on: 2001-03-27
• Number of discs: 2

Customer Reviews

Gruberova still in good form
Edita Gruberova must like Maria Stuarda a lot since this is her second recording in less than 10 years. The first one in Philips was quite good with Francisco Araiza and Agnes Baltsa in top form. This new live offering has an exciting Elizabeth in mezzo Carmen Oprisanu and a most lyrical Leicester in Octavio Arévalo. Is this new recording better than the old one? Not necessarily. Agnes Baltsa brought more temperament to the Virgin Queen than Oprisanu, and perhaps a more distinctive voice too.

Gruberova is obviously fresher in her first recording, but there are some remarkable things here too. If you have the PHILIPS you can live happy with it, but the Nightingale is certainly worth having too.

A big disappointment!
Let me lay my cards on the table: I adore this opera, I am a fan of Edita Gruberova, and I welcome almost any new recording of this wonderful score. Almost any - but regretably not this one. Octavio Arevalo, the brave tenor who tackles the fiedishly difficult role of Roberto, is clearly a talent to be cherished. He has a lovely tone and sets about the role with enthusiasm. But the role is VERY difficult (and VERY beautiful) and he is over-parted by it. In the earlier Phillips recording, with Francisco Araiza, there was a similar problem, but Araiza makes a more 'honest' attempt (if this makes any sense). Certainly, Araiza communicates a more sympathetic, flesh and blood account of the character. Carmen Oprisanu has a large, opulent voice, but her performance is marred by poor diction; perhaps as a result of this, she too fails to communicate a character. She certainly fails to interact with the other singers in a way that Baltsa is supremely convincing on Phillips. Gruberova's performance, compared with the Philips version a decade ago, is almost all loss. The streta finale which concludes Act II, properly performed, should set an audience on fire; this one is like a damp fire work with gruberova ruining the conclusion by beginning her high note a good four notes below pitch. I am surprised that this was allowed to pass - it does not serve well such a superb musician and artist -- it also confirms this as a sub-standard release. So where did it all go wrong? As anyone who has heard Gruberova in the opera house will know, she is known for far higher performance levels than this. For my own view, I would say that the fault lies with the conductor. Marcello Viotti is just too careful in his approach: the performance is like walking on thin ice - the pace is slowed and the tension and drama vanish. Characters fail to ignite, and the opera then appears bland, empty-headed 'bel canto'. The orchestra here contributes little, and detracts much, from the performance - it is devoid of colour - we would have been as well served by a piano accompaniment.

Let me lay my cards on the table - this is a wonderful opera, full of dramatic colour in the orchestra, character and passion in the characters. If you are new to maria Stuarda, look elsewhere. If you are a fan of Gruberova, this will be a sad disappointment. If, like me, you must have absolutely every available version of this opera, you will buy it. But you will find little to enjoy and it is likely to stay on your shelf. Better to spend your time/money tracking gruberova down in live performance or in a pirate recording. I have not enjoyed writing such a negative review.

Useless remake
Has there been a need for Gruberova to re-record a role she coped honourably enough with in her 1989 Philips recording, with Baltsa, Araiza and Patane conducting? The set, published by her own recording company, is blessed with mixed results and sometimes seriously flawed. The voice has lost its initial brightness, luster and accuracy, under-the-note attack is evident and the ease with which she used to throw away her high notes is definitely a bygone feature. Her doubtful tastes for underlined, excessive 'expression' have become almost nerve-racking experience for a listener, and by this I mean her tendency to disturb her phrasing with sobs and other lachrymose effects, thus depriving the Queen of any regal bearing. What with her noisy breathing. Viotti's choice of tempi is questionable (obviously his aim was to serve well his prima donna), all on the slow side. The supporting cast falls short as well, when compared to the Philips recording: Oprisanu is in the wrong opera, she sounds like singing Santuzza or Princess Bouillon in Adriana, and Arevalo's contribution is no less out of context.

Major disappointment, an also-ran for this under-recorded opera. I'm going to stay with my Sutherland Decca recording as far as studio is concerned, but Caballe and the fire-eating Verrett live from 1971 la Scala performance are faboulous, and available via Amazon on Opera d'Oro just for [price]! Highly recommended and worth every penny!