Maria Stuarda: the second episode in Jetske Mijnssen's Tudor trilogy opens in Naples

Director Jetske Mijnssen stages a notable production of Gaetano Donizetti's Maria Stuarda at the Teatro di San Carlo, co-produced with Dutch National Opera and the Palau de les Arts Reina Sofía di Valencia. It is the second part of her production of Donizetti's Tudor trilogy. Last year Anna Bolena opened the sequence here, which in July 2025 will be completed with Roberto Devereux.

While in Anna Bolena a young Elizabeth witnesses her mother's execution and loses her claim to the throne, Maria Stuarda features Queen Elizabeth I as the reigning queen confronting Mary Stuart, a deposed Scottish queen and rival for the English throne. This production focuses on the psychological and human aspects of the central characters, rather than on their political conflict. The two queens' intricate emotions and personal conflicts are highlighted, with Elizabeth playing a pivotal role.

Mijnssen shows both queens as haunted by their pasts: Elizabeth by her illegitimate status and Mary by losing three crowns, and uses doubles and extras, choreographed by Lillian Stillwell, to visually represent the queens' inner turmoil. The minimal yet elegant and impactful set design by Ben Baur, the costumes by Klaus Bruns and the evocative lighting by Cor van den Brink further heighten the emotional depth of the narrative. The performance begins without the overture, as it immediately connects to the finale of Mijnssen's Anna Bolena, thereby creating a seamless transition between the two narratives.

Pretty Yende made her debut in the title role, delivering a performance marked by her trademark vocal brilliance, even if the development of her voice has taken a toll on her upper register. Known for her light and agile soprano, Yende faced challenges conveying the regal gravitas the role demands. While she excels in expressive singing, the rendering of the profound emotional intensity and strong dramatic presence required throughout the opera proved demanding for Yende as she didn't fully capture the complex psychological depth of Maria, particularly in the opera's most intense moments.

Aigul Akhmetshina's Elisabetta was a perfect foil to the character of Maria, her mezzo-soprano voice providing a powerful counterbalance to her rival. She was mostly charged with the intensity of the interactions with Yende, depicting the complex relationship between the two women. Akhmetshina's remarkable performance as Elisabetta was marked by an impeccable vocal quality and a sense of inner strength. Her interactions with Maria were compelling, depicting an intense power struggle. The acme of drama occurred when Maria insults Elisabetta in a moment of fierce defiance by calling her a “bastard” and the “impura figlia di Bolena”. This once-censored moment in the opera was delivered with powerful effect, emphasising the intense tension and dynamics between the two queens.

Francesco Demuro’s Roberto added passion to the character’s loyalty; his graceful tenor sounded smooth and consistently expressive. Occasionally, his naturally bright and clear voice disclosed a steely core, which proved not particularly effective in some passages. Sergio Vitale's baritone was quite convincing as Lord Cecil. He displayed a full tone mostly in the middle range and sincere musicality when not burdened by excessive range shift demands.

Carlo Lepore's Talbot was the most persuasive character among the supporting cast, as he contributed significantly to the opera's dramatic and vocal richness; with his resounding, full-bodied bass and elegant bearing, he added depth and intensity to the performance. Chiara Polese completed the cast, giving the character of Anna Kennedy a warm empathetic allure.

Conductor Riccardo Frizza ensured perfect orchestral balance and audibility, from duets to massive choral numbers. Unlike other Donizetti works, the orchestral parts in Maria Stuarda sustain the drama and voices without drawing attention to themselves: Frizza is very skilled in supporting the singers and chorus and enhancing the narrative, demonstrating a keen awareness of the opera's subtleties. Under his baton, the orchestra provided a quite calibrated performance, deserving its share of the warm final applause.