Donizetti’s MARIA STUARDA. UCT Opera School and CT Opera. Directed by Matthew Wild, with Noluvuyiso Mpofu, Violina Anguelov, Kukhanyo Moyake, George Stevens, Sandile Sikhosana, Jacobi de Villiers. Conducted by Kamal Khan. Costumes Maritha Visagie. Lighting Kobus Rossouw. At Artscape Opera House. DEON IRISH reviews
THESE two semi-staged performances of Donizetti’s dramatic gem in a collaboration of UCT Opera School and Artscape were the first of an intended series of productions over the next three years, made possible by the generous sponsorship of Naspers.
Maria Stuarda is a singular work is some respects: not least for its placing two sopranos as the central characters and making them bitter rivals, to boot! At the first staging of the opera, the singers in question came to physical blows during rehearsals – which might have played a role in the cancellation of the premiere.
The libretto, based on a play by Schiller, deals with the finals days of the Scottish, Stuart Queen, Mary and the decision of the English Queen, Elizabeth, to execute her for treason. The religious conflict between Catholic and Protestant is central to the plot: what is not apparent is that Mary was actually Elizabeth’s heir apparent; and that the consequence of the execution was to ensure a transfer of the English throne to her son, who was more than happy to embrace Anglicanism as James I.
The soprano role of Elizabeth is nowadays often assigned to a mezzo-soprano, not merely to provide a contrasting tonal colour to the two principal voices, but also because there are some significant low passages in the part. But, of course, there is the top end of the range too, and Anguelov demonstrated her enviable vocal range in a performance in which she was as convincing a soprano as an alto.
With that came a gripping portrayal of a queen who, in various guises, has spent considerable time in recent years on our film and television screens. This was a fine portrayal of proud Henry’s equally proud daughter: implacable, politically astute but, out of the public eye, lonely and emotionally vulnerable.
Opposite her, Mpofu shone as the hapless, but manipulative Mary. We recall her outstanding portrayal of Violetta earlier this year (her biography in the programme was at least a year out of date!), memorable for the floated top notes which hung in the air with stupefying fragility; this role afforded her the opportunity of reproducing that aspect of her art, but also much more.
Her delineation of character was neatly drawn; the seeming innocent who, when she perceives that her simulated remorse is not impressing Elizabeth, can turn in a moment into a thing of rage and vicious tongue (Figlia impura di Bolena .... Meretrice indegna, oscena....) was convincingly portrayed and, perhaps, the highpoint of the evening’s drama. It certainly gave opportunity of demonstrating a power of vocal projection which (despite her youth) almost matched that of Anguelov.
As Leicester, Moyake delivered a faultless account of the lyrical tenor part of Leicester, the young courtier who has uncomfortably caught the eye of two queens (again, a fictional reworking of some slight historical truth). His voice has the necessary flexible accuracy for bel canto roles and, although the portrayal of the character was somewhat one-dimensional, this is as much a fault of the writing as any limitation of the performer.
Stevens was solidly reliable in the smaller but demanding role of Talbot, a character who essentially acts as a foil for the comments and thoughts of others. I liked Sikhosana’s neatly sung, but carefully delineated Cecil (this is singer who really can act!) and Jacobi’s sympathetic Anna.
From the opening outburst, the chorus were simply tremendous and it was good to hear them back in prime condition after a rather indifferent patch.
The staging worked exceptionally well. Bereft of the trappings of sets and enforced scene changes, the drama moved with inexorable pace and Wild’s deft handling of cast and chorus provided a fully intelligible dramatic portrayal of the action. Indeed, with no sets or props to assist, the acting took centre stage and Wild’s theatrical background was given full rein in his employment of mimic and movement devices to tell the story. Given an opera so heavily dependent on the music rather than the libretto for its impact, this reduced visual impact was all the more appropriate and compelling.
The costuming was constrained but effective, only the lead characters being really fully kitted out. However, I did think the lighting design could have been more imaginative.
Finally, plaudits for Khan’s quite splendid contribution from the pit - except, of course, that it really was not only from the pit. He was – and remains – intimately involved in the training of most of these singers. Khan would not claim to be the finest opera conductor in the world. But, without question, he must be one of opera’s finest exponents. Capetonians are very, very lucky to enjoy the fruits of his ongoing involvement among us.