Even though San Diego Opera has never produced Gaetano Donizetti’s 1835 bel canto opera ” titled here “Mary, Queen of Scots,” and more usually “Maria Stuarda ” there is nothing to fear. Anyone accustomed to the composer’s “Lucia di Lammermoor,” “Don Pasquale,” “The Elixir of Love” or “The Daughter of the Regiment” will feel quite at home musically. Though the music may be unfamiliar, one can practically hum along.
“Mary,” which opened Saturday, Feb. 16 at the Civic Theatre, is imbued with Donizetti’s trademark gifts for melody, ensemble writing and bel canto fireworks, especially for the women. The opera has two queens locked in a battle for power and the throne of England in the 16th century.
The winner is the reigning monarch, Elizabeth (mezzo-soprano Kate Aldrich in her company and role debut), who prevails both historically and in the opera, which has a libretto by Giuseppe Bardari based on Friedrich von Schiller’s play, “Mary Stuart.” The contender is Mary (Albanian soprano Ermonela Jaho in an unexpected company debut), who is loved by the man Elizabeth covets, the Earl of Leicester (Armenian tenor Yeghishe Manucharyan in his company and role debut). How does a monarch deal with such competition? The problem is solved with a nice Act III beheading.
Leave the history books at home. Though they meet in Donizetti’s opera and have a verbal battle royal, the two queens, who were actually cousins, never met face to face in real life. As pointed out by Olin Chasin in his program notes, Mary ultimately triumphed. When Elizabeth died, Mary’s son, James VI of Scotland, became James I of England, leaving not only the King James version of the Bible for posterity but successors whose lineage extends to the Queen Elizabeth II and her progeny.
The audience, many of whom came from afar to hear the opera, was the winner opening night. Angela Gilbert, heard previously here in 2006’s “Lucia,” was to sing her first Mary.
Unfortunately, a stomach virus temporarily vanquished Gilbert, though she was expected to recover in time for remaining performances. SDO general manager and artistic director Ian Campbell heard Jaho sing the role at the Berlin Staatsoper last November and was able to fly her in at short notice.
Slim and beautiful and a fine actor, Jaho sang brilliantly, specializing in stratospheric pianissimos that are unhampered by the singer’s odd quirk of tilting her neck to the right when producing these notes. Perhaps the method elongates the left vocal chord; who knows, and to what purpose? And who cares? The sound is so amazing and lovely. The rest of her voice is definitely there, midrange and chest as required, though a bit spread for my taste.
Aldrich is magnificent, all fire and excellent coloratura and some astonishing high notes. The women are well supported by the excellent bel canto distaff, which includes the solid British bass-baritone Andrew Greenan, who impressed as Biterolf in “Tannhauser” last month; German bass Reinhard Hagen as Mary’s supporter, Talbot (most impressive is their Act II duet, “Da tutti abbandonata”); and Israeli mezzo-soprano Susana Poretsky as Mary’s companion, Anna.
Though diminutive, Manucharyan has immense, tightly focused tenorial talent, managing Leicester’s punishing tessitura extremely well and ardently performing his character’s love scenes.
Andrew Sinclair’s staging makes sense out of the proceedings. Ming Cho Lee’s lofty sets are rented from New York City Opera, and the Elizabethan costumes, designed by Ingeborg Bernerth, from Dallas Opera. Ron Vodicka’ lighting design is brilliant, subtle and ultimately thrilling. The 50-person SDO chorus is superb, the orchestra impressive, all in the capable hands of Maestro Edoardo Mueller.
Remaining performances take place at 8 p.m. Friday, Feb. 22 and 2 p.m. Sunday, Feb. 24 at the Civic Theatre, 202 C St., San Diego.
For tickets and information, visit www.sdopera.com or call (619) 533-7000.