The arrival of Maria Stuarda in Bilbao It has transformed the Euskalduna Palace into one of the great centers of bel canto in Spain. The tragedy of the Scottish queen, shrouded in political and religious intrigue, has found in the capital of Biscay a stage where Donizetti's music, the voices of the cast, and meticulous staging have combined to offer performances of the highest caliber.
Far from being a niche title, This opera from the so-called Tudor Trilogy Since the mid-20th century, it has established itself as one of the great vehicles for showcasing sopranos and mezzo-sopranos, and ABAO Bilbao Opera has strongly supported it with several top-notch casts, an international co-production, and a series of performances that have left their mark on both music-loving audiences and specialized critics.
Historical context, bel canto and the Tudor Trilogy
Within the Donizettian universe, Maria Stuarda occupies a place of privilege as the second installment of the famous Tudor Trilogy, alongside Anna Bolena y Robert DevereuxThese three operas revolve around the turbulent lives of English queens and their entourage, combining historical recreation with the romantic drama characteristic of Italian bel canto.
Since its revival on stage in 1958, the work has become a reference point for the great singers of the repertoire. The role of Maria has been approached from two main interpretive perspectives.: a more intensely dramatic aspect, embodied by figures such as Leyla Gencer, Beverly Sills or Edita Gruberova, where the tension between the political conflict and the intimate pain of the character is emphasized; and a more lyrical and elegiac reading, in which the emphasis falls on the beauty of the singing and the purity of the line, a path traveled by performers such as Montserrat Caballé or Mariella Devia.
The origin of the stage myth of this opera dates back to the legendary Maria Malibran, the first great Maria Stuarda On December 30, 1835, that Spanish soprano, born in Paris and daughter of the celebrated Sevillian tenor Manuel García, inaugurated an interpretive tradition that blends the nobility of the character, her human fragility, and a demanding vocal style that requires mastery of coloratura and control of the breath and a wide range of dynamic controllers.
Within his body of work, In Maria Stuarda, Donizetti reaches one of the high points of his styleThe work condenses the essence of serious bel canto: long legato phrases, ornamentation that is never a mere empty display, but accompanies the psychological progression, and large ensemble scenes where political conflict and intimate drama intertwine without respite for the spectator.
In Bilbao, the opera has also been programmed as part of the 74th season of ABAO Bilbao Operaconsolidating a recent journey through the Tudor Trilogy: after the re-release of Anna Bolena In 2022, it's now Maria's turn, waiting for Robert Devereux, called to complete a cycle that places the city on the European map of the great Italian romantic repertoire.
Complete argument by Maria Stuarda
Giuseppe Bardari's libretto, loosely based on Schiller, constructs a plot in three acts where the following intersect Political rivalry, the struggle for faith, and an impossible love triangleAlthough the story is inspired by real events, the direct confrontation between the two queens is a dramatic device exaggerated to the extreme to exploit the clash of characters on stage.
Act I: Intrigues in Westminster
The action starts in the Palace of WestminsterIn the very heart of English power, England celebrates a tournament in honor of the French ambassador, sent to negotiate a possible marriage between Queen Elisabeth and the King of France. The alliance, more than a romantic idyll, is presented as a political obligation and a duty to the stability of the kingdom.
Still, Elisabetta carries an inner conflict.On the one hand, she feels compelled to seriously consider marriage; on the other, her heart has not forgotten the Earl of Leicester, whose absence at court has not gone unnoticed. The queen harbors a mixture of attraction, suspicion, and emotional dependence toward him that will become crucial when her rival, Maria, enters the scene.
The political climate becomes tense with the presence of Giorgio Talbot, responsible for the royal prisonwho dares to plead for mercy for Mary, the deposed Queen of Scotland, imprisoned in Fotheringay Castle since her flight from her country. Talbot appeals to Elisabetta's compassion, underscoring Mary's almost tragic condition, swept along by events.
However, The English queen wavers between pity and fearHe fears that Maria continues to plot to seize the English throne, supported by Catholic factions and external enemies. Lord Guglielmo Cecil, his most ruthless advisor, coldly reminds him that any sign of weakness could compromise the kingdom's security and ultimately backfire.
The emotional tension increases when he finally appears Leicester, a key figure in the triangleElisabetta gives him a ring intended for the French ambassador as a symbol of acceptance of the marriage proposal. The count's apparent indifference to such a delicate mission arouses the queen's anger, who senses in his lukewarmness confirmation that her passion is not reciprocated with equal intensity.
Alone, Talbot delivers to Leicester a portrait and a letter from MariaThese physical proofs strongly rekindle the earl's feelings, and he becomes inwardly determined to try to free the woman he loves, even if it means resorting to risky methods. When Leicester presents the letter to Elisabetta, he begs her to grant Maria an audience.
To justify the meeting, Leicester suggests organizing a day of hunting in the area surrounding Fotheringay CastleThis provided a perfect excuse to approach the prisoner without causing an official scandal. As the Count's enthusiasm for Maria's cause becomes more apparent, Elisabetta relives all of her rival's schemes and ambitions for the English throne and perceives the emotional danger of being compared to her.
Upon hearing how Leicester recklessly praises Maria's beauty and charmThe queen feels humiliated and betrayed. After a moment of apparent condescension, she decides to accept the meeting, but within her stirs a mixture of jealousy, a desire for affirmation, and a will to punish that will explode in the next act.
Act II: The Clash of the Two Queens
The second act takes us to the gardens of Fotheringay CastleThere, Maria, accompanied by her faithful lady-in-waiting Anna Kennedy, enjoys a brief respite of freedom. As she strolls through the park, she sadly recalls her youthful days in France, when a serene life, far removed from court intrigues, still seemed possible.
The sound of the royal hunting partyThe approaching figure awakens a deep fear in the Scottish queen. Suddenly, the idea of having requested an interview with Elisabetta seems reckless. She hesitates, she is anxious, she wavers between the impulse of someone seeking justice and the premonition that a final judgment on her fate is imminent.
With Leicester, who insists that the letter softened the heart of the English queen.And thanks to Anna's words of encouragement, Maria finally decides to face the encounter. It is a moment of great psychological intensity: the hope of reconciliation and the fear of humiliation coexist on the same scale.
Meanwhile, on the English side, Elisabetta is also torn between conflicting feelingsCecil vehemently urges her to execute Maria, warning her of the risks of keeping alive a rival with a dynastic claim. But the queen resists, perhaps out of a lingering sense of empathy, perhaps out of a certain magnanimity that has not yet been extinguished by the balance of power.
Despite that initial resistance, the fervor with which Leicester defends Maria This only inflames Elisabetta's resentment. For her, the encounter with her rival is no longer an opportunity for mercy, but a chance to test her strength and assert herself as the sole legitimate sovereign. The scene of this encounter is one of the high points of all Romantic bel canto.
When the two queens finally come face to face, they both arrive laden with prejudice and prideEach is convinced that the other is haughty and contemptuous. Even so, Maria initially manages to contain her wounded dignity and humbles herself, pleading for mercy from Elisabetta in a tone that seeks reconciliation and compassion.
Elisabetta's response is icy. The English queen remains inflexibleRecalling the murder of Maria's husband, Lord Darnley, and making insinuations about her honor, her conduct, and her alleged involvement in conspiracies against the English crown, these accusations ultimately cause Maria's fragile self-control to crumble.
Despite Leicester's attempts to calm tempers, Maria explodes and launches a barrage of merciless insults at Elisabettacalling her a bastard and a "vile and lascivious whore." The devastating and public words represent an irreparable affront to royal pride and make any possible gesture of mercy virtually impossible.
Elisabetta's reaction was swift: furious and hurt to the coreHe advises Maria to await her death sentence. For the Scottish queen, strangely, the moment has a taste of moral triumph: she feels she has recovered her dignity, even at the cost of sealing her fate. Donizetti underscores this clash of wills with incisive music, dynamic contrasts, and a grand concerted section where all the characters are caught in the web of consequences of their own passions.
Act III: Condemnation, Repentance, and Martyrdom
The third act returns to Westminster PalaceThere, Elisabetta, though deeply offended by the insults she received, still hesitates about signing the death warrant. Cecil keeps reminding her that the security of the crown and the kingdom demands the eradication of any threat, no matter how royal its blood or tragic past.
The queen's moral dilemma persists until she reappears Leicester, trying to wrest a final gesture of mercyHer pleas, however, fail to soften her heart; on the contrary, her persistence is interpreted as a lack of loyalty. Sunk in a mixture of sentimental resentment and political calculation, Elisabetta ends up signing Maria's death warrant.
As an exemplary punishment, he orders Leicester that he witnesses the execution of the woman he lovesA cruel mandate that underscores the personal dimension of the conflict. Love here is transformed into a cause of suffering and a weapon of humiliation, both for the count and for Maria, who senses the torment this will bring him.
The action then moves to Maria's lodgings at Fotheringaywhere the Scottish queen still tastes, somewhat bitterly, the feeling of having publicly humiliated her enemy. However, the feeling that Leicester may be in danger because of her outbursts of fury begins to overshadow her apparent triumph.
Cecil's arrival with the death sentence already signed This brings a decisive shift to the tone of the scene. Maria initially rejects the offer of spiritual comfort through a priest, appearing proud and almost defiant. But the arrival of Talbot, who confesses that he took holy orders so he could listen to her, opens the door to an intimate process of confession and repentance.
In one of the opera's most breathtaking scenes, Maria admits her guiltShe acknowledges her responsibility for the murder of her husband Darnley and hints at her involvement in the Babington Plot, not only to secure her freedom but also with an eye toward the throne of England after Elizabeth's death. Talbot absolves her, and the musical score enhances this almost liturgical moment with intense spirituality.
The denouement unfolds in a room adjacent to the execution chamberMaria's supporters surround her, lamenting the injustice of her fate and anticipating the horror of her impending death. She, however, faces the end with serenity and composure, trying to comfort her loved ones and give them strength instead of absorbing their grief.
When the cannon signals the moment of execution, Cecil asks for his last will and testamentMaria decides to forgive Elisabetta, prays for her and for the kingdom, and asks that her blood serve as an atonement for divine wrath. In a final encounter with Leicester, she tries to soothe his despair, reaffirming her resolve and her faith in heavenly justice.
The opera culminates with Maria's determined walk towards the scaffoldAccompanied by the tears of her friends and enveloped in an atmosphere of martyrdom and redemption, Donizetti brings together all the elements of tragic bel canto: musicalized poetryA restrained yet intense orchestra and a theatrical sense that leaves an indelible mark on the audience.
Performances, dates and venue in Bilbao
The presentation of Maria Stuarda at the Euskalduna Palace It was performed in several shows throughout February as part of ABAO's season. The production had a total of four performances, all of which were well received by audiences, although not completely sold out.
The main appointments took place on the days February 14, 17, 20 and 23With evening performances ranging from 19:00 to 19:30 pm, always in the emblematic Bilbao hall. On February 14th, in particular, a very special evening was experienced, widely praised by critics, who highlighted the balance between the purity of the singing and the overall dramatic impact of the production.
Opera has been framed within a broader musical context, where the symphonic and operatic activity of the Euskadiko Orkestra and the Bilbao Opera Choir It is interwoven with other repertoire programs, such as those dedicated to Schumann and Respighi in the symphonic season. This synergy strengthens the average level of all the institutions involved and consolidates the Euskalduna's image as a leading venue.
Furthermore, Bilbao's production includes a clear international projectionAfter its run at ABAO, the same stage production will travel to the Oviedo Opera season, where it will be presented at the Campoamor Theatre, and the title will also be included in the plans of the Metropolitan Opera House in New York, confirming the renewed interest in this opera on the world's great stages.
Vocal cast and interpretive approaches
One of the great attractions of these performances has been the cast, headed by the Canary Islands soprano Yolanda Auyanet as Maria Stuarda and mezzo-soprano Maria Barakova as Elisabetta. Both have proposed distinct but complementary interpretations, reflecting the different possibilities offered by these characters within the bel canto tradition.
Yolanda Auyanet, who had already performed this role at the Teatro Real, has opted for a lyrical and intimate approach to the character of MariaHer singing has relied on careful legato, refined musicality, and well-measured expressive regulators, especially in the grand final scene, where breath control and dynamic sensitivity create an atmosphere of deep introspection.
Although some analyses have pointed out certain specific limitations in the control of the acute phase and in the management of breath In passages of maximum demand (such as the famous prayer before the execution), the soprano has stood out for the dramatic solidity of her interpretation, with moments of high intensity in the imprecation against Elisabetta and an overall construction of the character that denotes stage experience and understanding of the Donizetti style.
For its part, Maria Barakova has delivered a truly impressive Elisabetta.The role is written for soprano. ventedA demanding hybrid vocal range, both in the lower-middle register and in the ascents to the high notes. Barakova, with an instrument close to that type and far from the typical mezzo profile, has shown generous volume, a solid middle range, and a firm and well-projected high register, although in some attacks... forte the sound tended to open up slightly.
In his cavatina “Ah, when all'ara scrgemi!”The singer has displayed an elegant, well-rehearsed singing style. shade and in the transition between registers, while in the aria “Quella vita a me funesta” of the second act she has achieved an effective mix of drama and linked line, underlining the tragic dimension of a sovereign trapped between reason of state and her intimate demons.
The Croatian tenor Filip Filipovic plays the Earl of Leicester With a voice of great projection, a taut and brilliant timbre, and a particularly striking high register from G onwards, his Conte di Leicester has been described as a benchmark in the current scene, with a broad instrument, metallic harmonics, and a great capacity to move the audience in the most demanding passages, such as the aria “Ah! rimiro il bel sembiante”.
Although some comments suggest that could delve even deeper into the range of stylistic colorsThe care taken with phrasing and expressive intent has been noticeable, avoiding falling into a merely declamatory singing and sustaining the line even in the densest concertantes, where the character is subjected to a strong exposure in the passing zone.
The bass Manuel Fuentes, recently awarded Best Young Singer by Opera XXIHe delivered a Talbot of remarkable authority, with a deep, resonant voice, an appealing timbre, and a stage presence reminiscent of the finest Bulgarian school, according to some critics. His performance in Maria's confession scene was particularly moving.
The mezzo-soprano Cristina del Barrio, like Anna KennedyHe has convincingly portrayed his character, bringing warmth to the moments of support and comfort to the protagonist. The Serbian baritone Milan Perisic, in the thankless role of CecilIt has gone from less to more, shining with particular intensity in the first scene of the second act and giving the scheming advisor an unusual relevance, without falling into caricature.
Orchestra, choir and musical direction
In the pit, Euskadiko Orkestra has shown itself to be a solid and disciplined groupcapable of meeting the demands of Donizetti's writing without losing sonic clarity. The strings have maintained commendable homogeneity, while the brass section has stood out for its precision and brilliance in the score's most incisive moments.
The musical direction of Iván López Reynoso has been one of the pillars of global successHer interpretation was characterized by respect for the bel canto style, with well-calibrated tempos that favored the singing and constant attention to the soloists' breathing. The coordination between pit and stage, a very delicate element in this repertoire, was resolved with remarkable precision.
Far from seeking a merely spectacular effect, López Reynoso has prioritized the balance between orchestra and voicesBy eliminating harshness and avoiding overpowering the singers in the densest passages, this restraint has allowed the nuances of coloratura, dynamics, and transitions to be clearly appreciated—essential for the delicate workings of bel canto.
The Bilbao Opera Chorus, prepared by Esteban Urzelai (or Urcelai, according to different chronicles)The ensemble has delivered performances of a high musical standard. Especially in the choral scene of the second act, the group demonstrated meticulous work. pianos, tuning and blending, giving a refined sonic envelope to the collective moments of greatest emotional charge.
On the stage, however, Some critical voices have pointed out a somewhat static treatment of the choirIt is close to the model of classical Greek tragedy. The very formal stage arrangements would have limited its potential as an active dramatic agent in a context where political and social pressure is crucial. Even so, the vocal quality has largely compensated for this relative restraint in movement.
Staging and visual design
The production signed by Emilio López as stage director It has opted for a balance between historical accuracy and elements of visual modernity. Far from an archaeological reconstruction, the proposal combines the evocation of the 16th century with a system of movable volumes that allows the different spaces of the libretto to be articulated without narrative breaks.
One of the most striking symbolic axes is the chessboard that structures the scenarioDesigned by set designer Carmen Castañón, the set features two queens and several pawns moving within a grid-like space, a transparent metaphor for the political and personal game between Mary, Queen of Scots, and Elizabeth I of England. The geometry of the chessboard underscores the sense that every gesture has strategic consequences.
Along with the chess pieces, a series of geometric volumes appear, mainly parallelepipeds, which open and close to generate new settings: the London court, the gardens of Fotheringay, Maria's apartments… This simple and functional stage device facilitates a fluid narrative, avoiding cumbersome set changes and always keeping the duel between the two protagonists in focus.
In contrast to the predominance of the right angle, The set design incorporates several terrestrial spheres. (Globes) that add an almost futuristic tone to the opening scene. These globes, in addition to their visual impact, point to the global dimension of the power of the English crown and the international reach of the decisions made in the plot.
The costumes designed by Naiara Beistegi (or Beístegui, according to different reviews) It strikes a balance between period accuracy and a refined contemporary touch. The striking red dress Maria wears at the end evokes the blood about to be spilled and imbues the protagonist with a powerful dramatic elegance.
the illumination of Oscar Frosio The visual picture is completed with a staging that skillfully highlights moments of profound spiritual reflection, such as Maria's confession, and the powerful climaxes of political confrontation. Without imposing an overly interventionist conceptual interpretation, the staging allows the music and voices to breathe, something highly valued by those who believe that in bel canto, the focus should be on beautiful singing and phrasing.
On the whole, Maria Stuarda's Bilbao production has offered a very balanced combination The opera's stylistic fidelity, visual appeal, and dramatic coherence were supported by a committed cast, a well-received orchestra, and a musical direction that skillfully combined precision and emotion. Critical reception, while nuanced and offering suggestions for improvement in certain technical and stage aspects, generally agrees on a high-caliber performance that confirms the opera's enduring relevance in the contemporary repertoire.
All of this artistic framework and musical has allowed that During these performances, Bilbao becomes one of the great epicenters of Donizetti's bel canto.Recapturing for today's audiences the intensity of a historical drama that, almost two centuries after its premiere, continues to resonate with the same force with those who sit in the theater and are drawn into the story of two queens pitted against each other by power, faith, and love.
