279:, and as the one who routed Catholicism from England's shores. But from an Italian perspective, Elizabeth was a heretic and, indeed, a bastard since "her father Henry VIII had never obtained an annulment from the Pope to end his marriage to Catherine of Aragon in order to marry his second wife (Elizabeth's mother) Anne Boleyn" Therefore, to European Catholics, Mary was a martyr and the legitimate ruler of England, a sympathetic character contrasted with Elizabeth, who was traditionally cast in a darker role, often "as unrestrainedly jealous, willful, and easily over-wrought. This is the portrait of Elizabeth found, not too unexpectedly, in Bardari's libretto".
3188:
45:
603:(1844–45), all variously trimmed versions. Naples finally heard the opera in 1865, but the work was ignored for the next 130 years. It has been suggested that, with the exception of Venice and Naples, most of these locations "were of peripheral importance" and therefore the opera "never found its way to the stages of Vienna, Paris, or London", the Italian reception being a major requirement to launch an international success.
1015:, between the pezzo concertato and the stretta) at the end of act 1 (act 2 in some productions) – the confrontation between the two queens – which gives "the climactic moment something of the immediacy of the spoken theatre. In any sense, this dialogue is one of the most original and powerful passages that Donizetti ever composed" or, as another critic puts it, "so that the outrageous text is heard in shocking relief."
2938:
524:("vile bastard"), Malibran rejected the censor's revisions and sang the original words. Several better-performed presentations later, the Milan censors clamped down, imposed conditions which Malibran would not accept, and she withdrew. Realizing the difficulties of a run in Italy, a London première was planned, but Malibran's death at the age of 28 in 1836 cancelled the project.
385:, the opera which secured the composer's place as one of the leaders of his day. Wanting a strong and powerful subject for his new work, the composer's idea was to have Romani prepare a libretto about Mary Stuart, but the librettist appears to have ignored him, perhaps because of his desire to get away from writing for the theatre, which he increasingly found to be distasteful.
1203:/ "Ah! May Thou hear the sound of our humble prayer") and, together, she and the crowd pray for God's mercy. When Cecil arrives to tell her that the time for her execution has come, he informs her that Elizabeth has granted her final wishes, including allowing Anna to accompany her to the scaffold. Then Mary offers a pardon to the queen (Mary, Anna, Talbot, Cecil, chorus:
1169:/ "That life, so threatening to me"). Cecil urges her to sign it "so that every ruler will know how to pardon you for it" and, as she is about to do so, Leicester arrives. Seeing him, Elizabeth exclaims "you are hastening the execution" and signs the death warrant. Leicester pleads for mercy, Elizabeth rejects the plea, and Cecil urges her to remain firm (Trio
347:– and this is just a scratch upon the surface of the European infatuation with the decapitated Stuart and/or her northern fastness which boiled-up in the bloodbath finale of the eighteenth century, operas often rabid and inconsequential, full of fashionable confrontations and artificial conflicts, politically motivated, repetitious and soon forgotten.
512:(a singer who often sang soprano parts) in the title role. Donizetti "tailored that role" for her with "improved recitatives, and extended scenes". In addition, he created a new overture. The censor had approved the libretto, although Ashbrook speculates that some of the original wording had been changed to gain that approval.
393:(who also translated a number of others as well) and it was this translation upon which Bardari relied. Although he was forced to eliminate "almost all of the play's political and religious references and (reduce) the number of characters from 21 to six, the libretto does adds the love story of Mary Stuart and
1820:
Weatherson, "Queen of dissent" (2001): "In her time legends surrounding Mary Queen of Scots a 'chain of seditious charcoal-burners' (who were) supposed to have been organised to carry out a secret struggle against the throne of Queen
Elizabeth I." Note the many titles of the plays and operas of the
1181:
Mary contemplates her fate, and that of
Leicester also: "I have brought misfortune to all". Talbot and Cecil enter and Cecil tells Mary that he holds her death warrant. After Cecil leaves the room, Talbot informs her that Leicester has been ordered to witness her execution. Beside herself with grief,
1064:
The Lords and Ladies of the Court enter after a tournament to honor the French ambassador, who has brought a marriage proposal to Queen
Elizabeth from the Dauphin François. They express their joy as Elizabeth enters. She considers the proposal, one which would create an alliance with France, but she
388:
Therefore, the composer sought the services of
Giuseppe Bardari (1817–1861), a seventeen-year-old law student with no experience, who became the librettist, thus giving Donizetti the opportunity to work closely with him, or to even write entire scenes himself and to greatly influence the structure of
1092:
Talbot leaves and, as
Leicester is about to do so, Elizabeth enters. Clearly knowing what has gone on between the two men, she questions him, asks about a letter from Mary, and then demands to see it. Reluctantly, Leicester hands it over, noting that Mary has asked for a meeting with her cousin and
983:
As if to counteract , through much of his composing life
Donizetti worked to expand the expressive potential of duets. The broad spectrum of dramatic situations possible for duets appealed to his strong theatrical sense, and they came to occupy an increasingly important place in his designs. It is
974:
Therefore, adapting to many of the conventions of 19th
Century Italian opera, which had become the tradition before he began composing, Donizetti's work increasingly shows a shift to more dramatically complex musical forms, the aim of which is to enhance the often-dramatic confrontations between the
1018:
In regard to the music of the ending of act 2, in the dramatic action it has been noted as fitting to the "sparse, clearly-constructed action leading to an inescapable end. And since that end is the focus of all interest, it is not surprising that the final act is musically as well as dramatically
684:
The opera has been given in a variety of
European and North American locations in recent times, which begin to increasingly establish it as part of the standard repertoire. A production which was noted as "no longer a display piece for rival divas, nor does it maintain the simplistic view that the
436:
At the rehearsal, Anna Del Serre declaimed these lines with such passion, that Ronzi Di Begnis took them as a personal insult and rushed at Del Serre, pulling her hair, punching her, biting her and hitting her on her face and breast. Del Serre returned in kind, but the soprano got the better of her
400:
However, the libretto does retain the fictional meeting between Mary and
Elizabeth in a very dramatic confrontation. While its musical elements are noted below, "the confrontation....so essential to the dramatic structure of both play and opera, it is, surely, a translation into action of a clash
611:
Prior to the discovery of the original autograph in Sweden in the 1980s, the only performances which began the 20th century revival were those of what
Ashbrook described as 19th Century "sanitized" versions. The first one of the century was that given in 1958 in Bergamo, with the US premiere, in
2198:
The translation of Schiller's play reads: "Thou tell'st me nothing of the share thou hads't in Babington and Parry's bloody treason…"? Mary's involvement with Babington, a Catholic nobleman, in what became the Babington Plot, was by letters between them (some of these forged). This was, however,
445:
suddenly banned performances of the opera "perhaps because his Queen, Maria Christina, was a direct descendant of Mary Stuart" or "the sight of one queen calling another 'vile bastard' on the stage of the Teatro San Carlo was too much for the Neapolitan sensibility". But it has also been simply
515:
In the end, the opening night performance was postponed due to Malibran's indisposition, but when it did occur on 30 December, it was clear that both lead role singers were in poor voice. Donizetti described the evening as "painful, from start to finish". It was quickly clear that the audience
2152:
The Italian text – as far as possible – follows the libretto of the world premiere (Milan 1835), but has to give in to some original variants, concerning the great scene between the two queens at Fotheringay Castle (Act I, scene 2), obviously attenuated in the librettos due to their
913:
Originally the roles of Maria and Elisabetta were written for sopranos. However, given the precedent of Malibran singing the role of Maria, many modern-day productions, dating from the late 1950s onwards, cast a mezzo-soprano as either Maria or Elisabetta. The role of Maria was written for
258:
being an example) exerted a fascination upon continental Europeans in an extraordinary way. In literature, it has been noted that more than 20,000 books have appeared about Mary's life and that, within two years of her death, stage plays also began to appear. In addition to Schiller's
298:
Scotland’s soil was about to be profaned by a stream of operas that bore the footprint of rival……without Mary Stuart, Scotland might have been left in peace....In Italy alone in the earliest decades of the nineteenth century there was a Scotch broth of operas by Asap; Capecelatro;
1198:
People gather at the site of the execution, lamenting that a queen's death will bring shame upon England. Mary enters and says her farewells to the crowd, which includes Talbot, telling them she will be going to a better life. She calls them to a final prayer (Mary, with Chorus:
274:
When it came to what had been handed down about Elizabeth I to Donizetti and other Italian composers, opera stage director Stephen Lawless notes that the continental view would have been very different from the Anglo-centric one of Elizabeth as Good Queen Bess, as
1008:/ "She was the picture of love") which appears before Maria's entrance and where Leicester pleads for Maria while Elizabeth's "ironic interjections provide a contrast of rhythmic emphasis and melodic pattern to the tenor's balanced lyric phrases".
1121:/ "In the peace of my sad seclusion, she would afflict me with a new terror"). To her surprise, Leicester approaches and warns Mary of Elizabeth's imminent arrival, counseling her to behave humbly towards the Queen, who is then despondent (Duet:
1207:/ "From a heart that is dying, may pardon be granted"). Leicester comes to bid her farewell. Both are distraught and he expresses outrage. Mary asks him to support her at the hour of her death and protests her innocence once again (Aria:
1076:
Just as Elizabeth inquires where Leicester is, he enters and Elizabeth tells him to inform the French ambassador that she will indeed marry François. He betrays no signs of being jealous, and the Queen assumes that she has a rival.
945:
and had a range of G3-E6) then decided that she wanted to sing Maria Stuarda, which she did until it was banned again. It was performed for a time subsequently in "sanitised" form and was eventually revived in 1958, still sanitised.
1125:/ "Forsaken by everyone… my heart knows no hope"). But assuring Mary that he will do whatever is necessary to obtain her freedom, Leicester leaves her to meet Elizabeth. He then attempts to plead with the Queen for her forbearance.
423:
Ronzi De Begnis was to sing Queen Elizabeth (soprano) and Anna Del Serre the mezzo-soprano title-role. At one of the rehearsals an incident occurred . In the second act of the opera, Mary Stuart rounds on Queen Elizabeth with these
1080:
Alone with Leicester, Talbot reveals to him that he has just returned from Fotheringay and gives a letter and a miniature portrait of Mary. Joyously, Leicester recalls his love for Mary (Aria of Leicester, then duet with Talbot:
471:
There used to be six characters in all? Now there are 10 or more. You can imagine what the opera has become! The same scenery, appropriate or not, will be used. I haven't been able to bring myself to ask whether it works or
967:) at their first appearances and Mary is also given one at the opera's end. However, the composer's strength lies in being able to tailor the framework to "a specific set of dramatic circumstances". Singled out is Maria's
1152:("The English throne is sullied, vile bastard, by your foot"). Elizabeth is horrified and demands that the guards take Mary away, declaring "The axe that awaits you will show my revenge". Mary is returned to captivity.
2014:
397:, which had no basis in fact, albeit that Leicester had been considered by Elizabeth to be a possible husband for Mary. At the time of the events portrayed, Dudley was actually 55, Elizabeth was 53 and Mary was 44.
984:
consistent with the rising tide of Romanticism in Italian opera during the 1830s and the growing emphasis on melodramatic elements that new prominence should be placed upon duets, especially those of confrontation.
453:("Lady Jane Gray"), but after it was also rejected, he set about revising and removing large segments of the score and, by quickly employing Pietro Salatino as new librettist, created a different work. He named it
958:
notes, in many respects the musical structure of the opera is fairly straightforward and follows many of the conventions of the day. For example, Elisabeth, Mary, and Leicester "are each given a "double-aria" (a
483:
When forced to simplify part of the music for the original Elisabetta, Donizetti scribbled on the margin "But it's ugly!", and further on refused a change, writing "Do it, and may you live for a hundred years!"
467:"who apparently caused a war between the Guelphs and the Ghibellines". But prior to its first performance, the composer expressed his concerns in a letter to librettist Jacopo Ferretti (as quoted by Ashbrook):
1270:
645:
performances, starting with one in Naples in 1865, they had been replaced by different numbers from his other lesser-known operas. The critical edition was first given in Bergamo in 1989 in a two-act version.
1097:/ "She was the picture of love"). Told that Elizabeth can join a hunting party on the estates where Mary is imprisoned, she agrees to the meeting, albeit with revenge on her mind (Cabaletta to the duet:
748:
presented all three of Donizetti's "Queens" operas throughout the UK from September to November 2013. This historic season was premiered in Cardiff then toured to venues in England and Wales in 2013.
1173:/ "Alas! For pity's sake spare the final blow at least"). The confrontation ends with Elizabeth holding firm despite Leicester's accusations of cruelty; she orders him to witness Mary's execution.
1026:
in Milan almost a year and a half later, Donizetti was to replace the prelude with a full overture and added a new version of a duet between Elizabeth and Leicester using previously written music.
286:
is concerned, these attitudes found their way into the works which poured forth: they covered a large portion of the Tudor era, including works about Henry VIII's first daughter, Mary, who became
363:
set Italian librettists scribbling for four decades. Indeed, without him it is to be suspected that Sir Walter Scott would never have captured the imagination of so many poets, nor for so long.
446:
noted by Professor Weatherson that "politics were the cause" in that reputed secret seditious behavior against Elizabeth I by Mary "made the decapitated monarch unpopular in Bourbon Naples".
1117:/ "Oh cloud! that wanders light upon the breeze"). The sounds of a royal hunt are heard and, hearing the hunters cry out that the Queen is close by, Mary expresses her disgust (Cabaletta:
1069:/ "Ah! when at the altar a chaste love from heaven singles me out"). Elizabeth expresses her uncertainty while at the same time, Talbot and the courtiers plead for Mary's life (Cabaletta:
979:(given upon her first appearance onstage) and the typical, often florid, aria which becomes the opera's finale. Therefore, in the case of the soprano's entrance aria, Ashbrook observes:
1065:
is reluctant to give up her freedom and also pardon her cousin Mary Stuart, the former Queen of Scots, whom she has imprisoned because of various plots against her throne (Cavatina:
941:
with one or other of the queens (probably Elisabetta) turned into the tenor title-role and de Begnis singing a role called Bianca. Malibran (who sang Norma but also Leonore and
290:, known as "Bloody Mary" for enforcing the country's strict return to Catholicism. The appeal of these operas has been expressed by Professor Alexander Weatherson in the 2009
252:
In a variety of areas – drama, literature (fiction or otherwise) – England in the Tudor era (and Scotland at the time of Mary Stuart and beyond in particular, Donizetti's own
1136:/ "Dead to the world, and dead to the throne… I come to beg your pardon"). The confrontation soon becomes hostile. Elizabeth accuses Mary of having murdered her husband,
697:
in Victoria, B.C. during the 2011/12 season. Between 1 January 2011 and 31 December 2013, the opera has seen 86 performances of 18 productions in 16 cities, according to
428:
Figlia impura di Bolena, / parli tu di disonore? / Meretrice indegna e oscena, / in te cada il mio rossore. / Profanato è il soglio inglese, / vil bastarda, dal tuo piè!
1132:/ She is always the same, proud, overbearing") and, after each character collectively expresses his or her feelings, Mary approaches and kneels before the Queen (Aria:
728:
in the title role. (A mezzo singing the role is not uncommon today, as has been noted below.) She had sung the role of Elisabetta in Geneva in 2005 and, when the
1725:
After his death, the publication of his works was completed in 14 volumes in 1816. Another edition in 26 volumes was published at Florence between 1826 and 1827.
1140:, as well as acts of treason and debauchery, all the while Leicester attempting to calm both sides. Stung by Elizabeth's false accusations, Mary calls her the
2154:
3262:
3212:
1255:
685:
opera presents Mary as noble victim and Elizabeth as vengeful monster here, the rival queens are both profoundly tragic, complex figures", was given by
1276:
1260:
2318:
1884:
Ashbrook 1972, p. 19: he speculates that "someone, probably Donizetti himself, persuaded Malibran to use the original text, including the famous
2048:
1186:/ "While with the light of dawn my life still sparkled"). However, Talbot then presses her about "one more sin": her "unity with" ("uniti eri")
1165:
Cecil enters with the death warrant and attempts to persuade her to sign it. While she hesitates, Elizabeth contemplates the situation (Aria:
829:
1000:, both of which precede this opera, but Ashbrook recognized at least two instances which evidence Donizetti's distinctive musical genius in
1093:
he pleads with the Queen to agree to do so. Also, upon her questioning, he confesses his love for Mary (Duet of Leicester and Elizabeth:
1085:/ "Ah! Again I see her beautiful face"). Talbot asks what he intends to do and Leicester swears to try to free her from her imprisonment (
271:
written in 1778 in which "that unfortunate queen is represented unsuspicious, impatient of contradiction and violent in her attachments."
2472:
480:
was first given on 18 October 1834 in Naples, it was not successful; it received only six performances and it was never performed again.
1700:
225:
after the final dress rehearsal – including having to be re-written for a totally different location, a different time period, and with
3252:
1190:, to which she initially responds "Ah! be silent; it was a fatal error", but, when he insists, adds that "dying my heart affirms it."
2199:
deemed sufficient to confirm her complicity in the plot to kill Elizabeth, which should have placed herself on the throne of England.
1211:/ "Ah! Though one day from this prison your arm wanted to abduct me, now you lead me to my death"). She is then led to the scaffold.
2787:
2683:
1793:
657:
in the title role, while the first staged performances of the "Three Queens" operas together in the US took place in 1972 at the
2349:
2843:
3016:
2078:
876:
1941:. Grove Music Online, Oxford Music Online (accessed 26 December 2009), and also in the 1998 print edition, Vol. 3, p. 213 f.
1866:
Richard Eckstein (trans. Hugh Keith), "Failure, Prohibition and Triumph" in the booklet notes accompanying the La Scala DVD.
3217:
836:
394:
2490:
2327:
635:
was prepared from the autograph, what was revealed at that point was that Donizetti had re-used a couple of numbers in
3247:
2310:
2267:
2248:
1933:
857:
504:
at La Scala in late 1834, it came to nothing and, finally, the opera was planned to be given on 28 December 1835 at
3222:
442:
2937:
2465:
2027:
3257:
3242:
2803:
2335:
2298:
1457:
704:
Other US companies have presented some or all of the "Three Donizetti Queens" operas. Among them has been the
3237:
1315:
324:
189:
1928:
375:
Having seen Schiller's play in Milan in an Italian translation, Donizetti approached the famed librettist
1265:
1182:
Mary imagines that the ghost of Lord Darnley is in the room with her, while Talbot offers comfort (Duet:
441:
The rehearsal continued, she sang, the matter went no further. After its successful dress rehearsal, the
153:
77:
2406:
Donizetti and the World of Opera in Italy, Paris, and Vienna in the First Half of the Nineteenth Century
2358:
Summers, Patrick (Spring 2012), "Odes to a Better World" (program notes for Spring 2012 performances of
2274:
3191:
3008:
2976:
2611:
2458:
1361:
1137:
915:
617:
3173:
2891:
2763:
2739:
2707:
2675:
2431:
194:
3104:
1798:
632:
401:
which was implicit in history – of a clash which took place in the letters the queens exchanged".
975:
characters in his operas. Ashbrook notes two of these conventions: the tradition of the soprano's
308:
210:
are often referred to as the "Three Donizetti Queens". The story is loosely based on the lives of
3040:
2875:
2547:
2391:
2384:
1543:
3056:
2445:
2436:
2968:
2923:
2867:
2827:
2259:
1490:
1409:
694:
674:
215:
2883:
2755:
1391:
1036:
930:
686:
294:
as follows (with the addition of relevant opera titles associated with the named composers):
175:
2208:
3227:
2859:
2851:
2819:
2747:
2667:
2635:
2603:
1011:
Most significantly, the other is in the great dramatic scene (unusually long and elaborate
778:
745:
211:
2731:
2003:
8:
3146:
3032:
2931:
2835:
2699:
2619:
2371:
1594:
1584:
1341:
1322:
1040:
721:
658:
650:
360:
254:
312:
3163:
3096:
2691:
2651:
2579:
2563:
2525:
1604:
1386:
729:
320:
247:
165:
148:
1448:
1428:
971:("Oh cloud, that wanders light upon the breeze") which appears in her entrance scene.
516:
disapproved, as did the authorities for different reasons because, instead of singing
2795:
2627:
2595:
2587:
2555:
2481:
2409:
2338:
2331:
2323:
2306:
2263:
2244:
2159:). The English translation is quoted according to the booklet of the Sills recording.
2074:
1967:
1853:
1589:
1557:
1511:
1404:
1346:
1019:
the culmination of the work, growing out of but eclipsing all that has gone before".
885:
770:
678:
316:
287:
132:
36:
2232:(1972). "The Composer and The Opera", in booklet accompanying the 1971 recording of
218:. Schiller had invented the confrontation of the two Queens, who in fact never met.
3168:
3024:
2984:
2779:
2715:
2659:
2254:
Ashbrook, William; Hibberd, Sarah (2001). "Gaetano Donizetti", pp. 224–247 in
2229:
1504:
1438:
1044:
955:
463:
416:
356:
264:
184:
140:
58:
3128:
724:
presented the Minnesota Opera's production of the work, but casting mezzo-soprano
3232:
2992:
1599:
1516:
1416:
1356:
1336:
1250:
717:
662:
654:
625:
616:. The premiere in England took place on 1 March 1966 in London. There was also a
492:
458:
328:
1022:
With the delay between the cancelled performances in Naples and the premiere of
355:
At the heart of the plot, however, lay an Italian, the pulp plays and novels of
3120:
3072:
2915:
2811:
1579:
1549:
1537:
1476:
1300:
1295:
1187:
942:
890:
850:
792:
742:, which preceded it in 2011, this was the company's first staging of the work.
725:
509:
332:
300:
937:
After the King of Naples banned the opera when it was in rehearsal, it became
3206:
3088:
2952:
2505:
2426:
1938:
1821:
time which include the word "carbonari" – charcoal burners – in their titles.
1611:
1525:
1471:
1443:
1368:
1305:
1290:
996:
925:
824:
811:
666:
665:. Presentations of the trio earned some degree of fame for American soprano
613:
536:
390:
376:
344:
144:
2224:
Donizetti: in the light of Romanticism and the teaching of Johann Simon Mayr
2129:
1900:
Jeremy Commons, Patric Schmid, and Don White, "19th Century Performances of
3112:
3080:
2385:"Queen of dissent: Mary Stuart and the opera in her honour by Carlo Coccia"
1433:
1310:
1245:
1012:
920:
705:
621:
336:
304:
161:
2394:, Donizetti Society (London), Newsletter #106. Retrieved 19 December 2012.
2342:
359:(1749–1802) a former actor whose prolific vulgarizations of Schiller and
3064:
3048:
2771:
2140:
2136:
1381:
1351:
1145:
1113:
Mary reflects on her youth in France with her companion, Anna (Cavatina:
990:
799:
738:
670:
637:
449:
Donizetti responded to the ban by suggesting another subject, that being
381:
179:
170:
2226:, Shaftesbury: Element Books, Ltd (UK); Rockport, MA: Element, Inc.(USA)
160:
The opera is one of a number of operas by Donizetti which deal with the
2571:
2533:
2413:
762:
415:
An incident occurred at a rehearsal of the opera which is recounted by
44:
2944:
1657:
1655:
1396:
964:
960:
736:
in January/February 2013, it also starred DiDonato as Maria. As with
698:
584:
2450:
1128:
When Mary is brought in by Talbot, Elizabeth reacts with hostility (
580:
248:
The appeal of Mary Stuart and Scottish history in 19th–century Italy
2723:
1004:. One is the Leicester-Elizabeth duet (beginning with Leicester's
866:
552:
505:
276:
236:
136:
102:
1652:
3000:
787:
576:
568:
544:
340:
673:
sang the title role (in English translation) in a production at
2643:
600:
596:
588:
564:
560:
556:
540:
222:
389:
the work. Schiller's play had been translated into Italian by
2960:
2172:("As the obscure daughter of Boleyn you talk of dishonour?").
1875:
Ashbrook 1972, p. 19, quoting Donizetti's letter to a friend.
845:
592:
572:
548:
124:
32:
2015:
Operabase.com's report of performances since 1 January 2011
1851:, 22 April 1865, cited in Jeremy Commons, "Maria Stuarda",
720:
staged all three between 2009 and 2012. In April 2012, the
437:
rival, and Del Serre was carried fainting from the theatre.
221:
After a series of problems surrounding its presentation in
693:
was presented at both the Teater Vanemuine in Estonia and
606:
2209:
Source of recordings on operadis-opera-discography.org.uk
2168:
The Milan 1835 libretto had the more tempered defamation
1150:
Profanato è il soglio inglese, vil bastarda, dal tuo piè!
649:
The first staged performance in the US took place at the
2316:
Sadie, Stanley, (Ed.); John Tyrell (Exec. Ed.) (2004),
2303:
The Bel Canto Operas of Rossini, Donizetti, and Bellini
908:
2185:, which in other versions was slightly aggravated to
1701:"An Italian Composer at the Court of Queen Elizabeth"
404:
235:
as we know it today premiered on 30 December 1835 at
379:, who had written a successful libretto in 1830 for
1101:/ "Over my head my rival stretched out her hand").
681:beginning in 1973, which was recorded and filmed.
2189:("vile liar", e. g. in the Naples 1865 libretto).
2059:, 14 September 2013. Retrieved 15 September 2013.
367:
263:, there had been another influential play, Count
3204:
496:appears in Italy: its 19th–century rise and fall
2319:The New Grove Dictionary of Music and Musicians
2170:Di Bolena figlia oscura / Parli tu di disonore?
1896:
1894:
918:, who sang the soprano roles of Donna Anna, in
612:concert form, following on 16 November 1964 in
1171:Deh! per pietà sospendi l'estremo colpo almeno
928:but also the mezzo-soprano role of Rosina, in
2466:
2181:The 1835 libretto again had the tamer insult
1271:Maggio Musicale Fiorentino Orchestra e Chorus
1891:
1703:on dallasopera.org. Note: Lawless directed
1184:Quando di luce rosea il giorno a me splendea
3263:Cultural depictions of Mary, Queen of Scots
3213:Operas based on works by Friedrich Schiller
2073:(in French). Belfond. pp. 37 and 104.
2038:, 27 January 2013. Retrieved 27 April 2012.
1857:, Vol. 107, No. 1477. (March 1966), p. 207.
1687:Weatherson February 2009, Donizetti Society
1073:/ "Ah! may some ray descend from heaven").
527:Except for the several performances of the
198:. The lead female characters of the operas
2473:
2459:
2286:Donizetti's Operas in Naples, 1822 to 1848
2068:
1771:
1769:
1486:Orchestra Stabile di Bergamo "G.Donizetti"
1201:Deh! Tu di un úmile preghiera il suono odi
1161:Scene 1: A room in Elisabetta's apartments
1060:Scene 1: Elisabetta's court at Westminster
43:
1750:
1748:
1746:
1744:
1742:
1740:
1695:
1693:
1669:
1667:
669:who took the starring role in each. Dame
2788:Le convenienze ed inconvenienze teatrali
2684:Le convenienze ed inconvenienze teatrali
1924:
1922:
1920:
1918:
1916:
1914:
1794:"Rare Donizetti and Verdi at St Pancras"
1148:") and continues with the final insult:
457:referring to a character who appears in
2390:Weatherson, Alexander (February 2009),
1949:
1947:
1766:
1645:
1643:
1641:
1639:
1637:
1635:
1562:Teatro alla Scala orchestra and chorus
1130:È sempre la stessa: superba, orgogliosa
1115:Oh nube! che lieve per l'aria ti aggiri
607:Revivals in the 20th century and beyond
500:Although there was an attempt to mount
3205:
2380:, Number 3, Donizetti Society (London)
2295:, 2nd edition. Rowman and Littlefield
2053:, WNO/Wales Millennium Centre, review"
1737:
1690:
1683:
1681:
1679:
1664:
969:Oh nube! che lieve per l'aria t'aggiri
508:, Milan with the famous mezzo-soprano
487:
242:
2480:
2454:
2096:
1911:
1194:Scene 3: The courtyard at Fotheringay
954:As musicologist and Donizetti expert
2740:Elisabetta al castello di Kenilworth
2392:"The Stuarts and their kith and kin"
2322:. 2nd edition. London: Macmillan.
2281:, London. Retrieved 16 December 2012
1944:
1632:
1099:Sul crin la rivale la man mi stendea
531:version noted above, productions of
395:Robert Dudley, 1st Earl of Leicester
2844:Il furioso all'isola di San Domingo
1860:
1676:
909:The casting of Maria and Elisabetta
13:
2427:Donizetti Society (London) website
2305:. Portland, Oregon: Amadeus Press
2156:Maria Stuarda becomes Buondelmonte
1661:Ashbrook and Hibberd 2001, p. 235.
1209:Ah! se un giorno da queste ritorte
1205:Di un cor che more reca il perdóno
1134:Morta al mondo, ah! morta al trono
14:
3274:
3253:Opera world premieres at La Scala
2420:
1934:The New Grove Dictionary of Opera
1929:William Ashbrook, "Maria Stuarda"
1544:Anna Caterina Antonacci
1521:Orchestra Filarmonica Marchigiana
1282:(Live performance of 2 May 1967)
620:production in 1967 which starred
3187:
3186:
2936:
2350:"I'll Never Stop Saying Maria",
303:; Carlini ; Casalini; Casella ;
2202:
2192:
2175:
2162:
2146:
2123:
2114:
2105:
2087:
2062:
2041:
2020:
2008:
1997:
1985:
1960:
1878:
1869:
1842:
1833:
1824:
1814:
1805:
1786:
1757:
1071:Ah! dal Ciel discenda un raggio
767:Premiere cast, 30 December 1835
520:as the substitute language for
282:As far as Italian opera of the
188:(named for a putative lover of
2588:Chiara e Serafina, o Il pirata
2383:Weatherson, Alexander (2001),
2243:. Cambridge University Press.
1728:
1719:
1710:
1707:for the Dallas company in 2009
1:
2541:I piccioli virtuosi ambulanti
2446:Streamopera.com/Maria Stuarda
2387:, Donizetti Society (London).
2378:The Donizetti Society Journal
2273:Ashley, Tim (14 March 2005),
2222:Allitt, John Stewart (1991),
2153:obscenity (see section above
2069:Saint Bris, Gonzague (2009).
2017:. Retrieved 10 December 2012.
1906:The Donizetti Society Journal
1621:
1328:(Part of "3 Queens" box set)
1316:London Philharmonic Orchestra
1214:
1089:/ "I want to set her free").
1087:Vuò liberarla! Vuò liberarla!
661:, all three operas staged by
339:; Rajentroph; the Ricchis ;
214:(Mary Stuart) and her cousin
2961:Betly, o La capanna svizzera
2408:. New York: Pantheon Books.
2262:. New York: Penguin Putnam.
2102:Ashbrook 1982, pp. 235 – 277
1649:Ashbrook 1972, pp. 17 to 30.
1067:Ahi! quando all'ara scórgemi
292:Donizetti Society Newsletter
190:Queen Elizabeth I of England
7:
3218:Operas by Gaetano Donizetti
2804:La romanziera e l'uomo nero
2404:Weinstock, Herbert (1963).
2376:Watts, John, (Ed.) (1997),
2370:, Vol. 52, No: 04. Pub. by
2355:. Retrieved 9 December 2012
2348:Siff, Ira (November 2006),
2291:Loewenberg, Alfred (1970).
2288:, London: Donizetti Society
2256:The New Penguin Opera Guide
2036:The San Francisco Chronicle
1266:Francesco Molinari Pradelli
1119:Nella pace del mesto reposo
1105:Scene 2: Fotheringay Castle
1083:Ah! rimiro il bel sembiante
1029:
862:Chancellor of the Exchequer
631:By the late 1980s, after a
351:But Weatherson concludes:
10:
3279:
2700:L'eremitaggio di Liverpool
2293:Annals of Opera, 1597–1940
2239:Ashbrook, William (1982),
2026:Arden Anderson-Broecking,
1754:Osborne 1994, pp. 229–234.
1673:Summers Spring 2012, p. 25
1453:Münchner Rundfunkorchester
1362:Teatro Comunale di Bologna
1234:Opera House and Orchestra
916:Giuseppina Ronzi de Begnis
618:Maggio Musicale Fiorentino
91:30 December 1835
16:Opera by Gaetano Donizetti
3182:
3156:
3139:
2708:Alina, regina di Golconda
2676:Il borgomastro di Saardam
2497:
2488:
2143:, broadcast 19 June 2010.
2004:Donizetti Society website
1781:Donizetti Society Journal
808:soprano or mezzo-soprano
653:on 12 November 1971 with
476:Inevitably perhaps, when
307:; Donizetti ; Ferrari; ,
195:Il castello di Kenilworth
86:
72:
64:
54:
42:
30:
23:
3248:Operas about Elizabeth I
2241:Donizetti and His Operas
2130:Synopsis of Donizetti's
1167:Quella vita a me funesta
1155:
1054:
949:
751:
3223:Italian-language operas
2548:Il falegname di Livonia
2093:Ashbrook 1972, p. 28 f.
1569:CD: Premiere Opera Ltd,
1142:Figlia impura di Bolena
3174:Donizetti's birthplace
2892:Rosmonda d'Inghilterra
2764:Imelda de' Lambertazzi
2275:"Mary, Queen of Scots"
2120:Ashbrook 1982, p. 278.
1763:Ashbrook (1972), p. 21
1484:Fabrizio M. Carminati,
1410:English National Opera
1318:with John Alldis Choir
675:English National Opera
3258:Operas based on plays
3243:Operas set in England
2884:Il diluvio universale
2756:Il diluvio universale
2111:Ashbrook 1982, p. 256
2047:Rupert Christiansen,
1830:Ashbrook 1972, p. 17.
1802:(London), March 1966.
1734:Ashbrook 1982, p. 317
1607:orchestra and chorus
1502:Maria Pia Piscitelli,
1177:Scene 2: Maria's room
1144:("Impure daughter of
1095:Era d'amor l'immagine
1037:Palace of Westminster
1006:Era d'amor l'immagine
931:The Barber of Seville
687:English Touring Opera
82:by Friedrich Schiller
3238:Operas set in London
3057:La fille du régiment
2852:Otto mesi in due ore
2820:Ugo, conte di Parigi
2748:I pazzi per progetto
2668:Otto mesi in due ore
2612:L'ajo nell'imbarazzo
2604:Il fortunato inganno
2284:Black, John (1982),
1716:Ashbrook 1972, p. 22
1412:Orchestra and Chorus
1364:Orchestra and Chorus
1123:Da tutti abbandonata
1050:Time: The year 1587.
858:Lord Guglielmo Cecil
746:Welsh National Opera
599:(1844), and finally
212:Mary, Queen of Scots
49:The composer in 1835
3017:Lucie de Lammermoor
2969:L'assedio di Calais
2932:Lucia di Lammermoor
2836:Sancia di Castiglia
2620:Emilia di Liverpool
2432:Libretto in Italian
2372:Houston Grand Opera
1585:Elza van den Heever
1372:Cat:00289 425 4102
1342:Huguette Tourangeau
1323:Deutsche Grammophon
1229:Leicester, Talbot)
1041:Fotheringhay Castle
812:Giacinta Puzzi Toso
722:Houston Grand Opera
659:New York City Opera
651:San Francisco Opera
641:, and that in post-
488:Performance history
361:August von Kotzebue
255:Lucia di Lammermoor
243:Composition history
231:as its new title –
131:), in two acts, by
3164:Donizetti Monument
3140:Other compositions
3097:Linda di Chamounix
2652:Gabriella di Vergy
2580:La lettera anonima
2564:Zoraida di Granata
2526:Enrico di Borgogna
2028:"What's playing /
1792:Harold Rosenthal,
1775:Commons, Jeremy, "
1605:Metropolitan Opera
1565:DVD: ArtHaus Musik
1554:Simone Alberghini
1509:Roberto De Biasio,
1481:Riccardo Zanellato
1420:Cat: CHAN 3017(2)
1387:Rosalind Plowright
1227:(Maria, Elisabeta,
988:Examples occur in
881:Earl of Shrewsbury
730:Metropolitan Opera
149:Friedrich Schiller
147:'s translation of
3200:
3199:
2796:Francesca di Foix
2732:Il giovedì grasso
2628:Alahor in Granata
2596:Alfredo il grande
2556:Le nozze in villa
2482:Gaetano Donizetti
2230:Ashbrook, William
2080:978-2-7144-4542-1
1972:operascotland.org
1854:The Musical Times
1705:Roberto Devereaux
1699:Stephen Lawless,
1619:
1618:
1590:Matthew Polenzani
1571:Cat: CDNO 2836-2
1558:Antonino Fogliani
1512:Simone Alberghini
1405:Charles Mackerras
1347:Luciano Pavarotti
1326:Cat: 289 465961-2
1280:Cat: HUNTCD 543-2
1256:Franco Tagliavini
906:
905:
841:Earl of Leicester
820:Maria's companion
783:Queen of Scotland
771:Eugenio Cavallini
679:Charles Mackerras
677:conducted by Sir
433:
368:The libretto for
288:Mary I of England
216:Queen Elizabeth I
133:Gaetano Donizetti
112:
111:
37:Gaetano Donizetti
3270:
3190:
3189:
3169:Donizetti Museum
3105:Caterina Cornaro
3033:L'Ange de Nisida
2985:Roberto Devereux
2940:
2828:L'elisir d'amore
2780:Gianni di Parigi
2716:Gianni di Calais
2660:Olivo e Pasquale
2519:L'ira di Achille
2475:
2468:
2461:
2452:
2451:
2299:Osborne, Charles
2211:
2206:
2200:
2196:
2190:
2179:
2173:
2166:
2160:
2150:
2144:
2127:
2121:
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2112:
2109:
2103:
2100:
2094:
2091:
2085:
2084:
2066:
2060:
2045:
2039:
2024:
2018:
2012:
2006:
2001:
1995:
1989:
1983:
1982:
1980:
1978:
1964:
1958:
1951:
1942:
1926:
1909:
1898:
1889:
1882:
1876:
1873:
1867:
1864:
1858:
1846:
1840:
1837:
1831:
1828:
1822:
1818:
1812:
1811:Gossett, p. 158.
1809:
1803:
1790:
1784:
1773:
1764:
1761:
1755:
1752:
1735:
1732:
1726:
1723:
1717:
1714:
1708:
1697:
1688:
1685:
1674:
1671:
1662:
1659:
1650:
1647:
1546:
1505:Laura Polverelli
1469:Carmela Remigio,
1439:Francisco Araiza
1277:Hunt Productions
1219:
1218:
1045:Northamptonshire
956:William Ashbrook
804:Queen of England
756:
755:
633:critical edition
432:
417:Harold Rosenthal
357:Camillo Federici
323:; Neidermeyer ;
265:Vittorio Alfieri
208:Roberto Devereux
185:Roberto Devereux
178:'s second wife,
141:Giuseppe Bardari
106:
98:
96:
59:Giuseppe Bardari
47:
21:
20:
3278:
3277:
3273:
3272:
3271:
3269:
3268:
3267:
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3201:
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3178:
3152:
3135:
3041:Lucrezia Borgia
3009:Pia de' Tolomei
2993:Maria de Rudenz
2977:Pia de' Tolomei
2876:Lucrezia Borgia
2692:L'esule di Roma
2493:
2484:
2479:
2423:
2214:
2207:
2203:
2197:
2193:
2180:
2176:
2167:
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2147:
2139:performance by
2128:
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2110:
2106:
2101:
2097:
2092:
2088:
2081:
2067:
2063:
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2013:
2009:
2002:
1998:
1990:
1986:
1976:
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1966:
1965:
1961:
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1945:
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1615:Cat:2564605475
1614:
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1600:Maurizio Benini
1593:
1588:
1583:
1570:
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1561:
1553:
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1517:Riccardo Frizza
1510:
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1460:
1452:
1449:Giuseppe Patanè
1442:
1437:
1432:
1429:Edita Gruberová
1419:
1408:
1401:Angela Bostock,
1400:
1395:
1390:
1385:
1371:
1360:
1357:Richard Bonynge
1350:
1345:
1340:
1337:Joan Sutherland
1327:
1325:
1314:
1304:
1299:
1294:
1281:
1279:
1269:
1261:Agostino Ferrin
1259:
1254:
1251:Shirley Verrett
1249:
1233:
1228:
1226:
1217:
1158:
1057:
1032:
977:aria di sortita
952:
911:
871:Pietro Novelli
768:
754:
718:Minnesota Opera
663:Tito Capobianco
655:Joan Sutherland
626:Shirley Verrett
609:
535:were staged in
498:
490:
413:
373:
343:; Sogner ; and
284:primo ottocento
250:
245:
166:English history
129:tragedia lirica
108:
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50:
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3121:Maria di Rohan
3117:
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2924:Marino Faliero
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2916:Gemma di Vergy
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2868:Torquato Tasso
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2499:
2495:
2494:
2491:List of operas
2489:
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2485:
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2477:
2470:
2463:
2455:
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2448:
2443:
2434:
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2421:External links
2419:
2418:
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2328:978-0195170672
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2007:
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1910:
1890:
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1849:L'Indipendente
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1580:Joyce DiDonato
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1550:Francesco Meli
1538:Mariella Devia
1535:
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1529:Cat: 2.110268
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1477:Joseph Calleja
1467:
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1461:Cat: 426233-2
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1013:tempo di mezzo
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985:
963:followed by a
951:
948:
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907:
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903:
901:
898:
894:
893:
891:Ignazio Marini
888:
883:
877:Giorgio Talbot
873:
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864:
854:
853:
851:Domenico Reina
848:
843:
833:
832:
827:
822:
818:Anna Kennedy,
815:
814:
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796:
795:
793:Maria Malibran
790:
785:
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760:
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750:
726:Joyce DiDonato
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605:
551:(1839–40), in
510:Maria Malibran
497:
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443:King of Naples
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123:) is a tragic
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3042:
3038:
3035:
3034:
3030:
3027:
3026:
3025:Le duc d'Albe
3022:
3019:
3018:
3014:
3011:
3010:
3006:
3003:
3002:
2998:
2995:
2994:
2990:
2987:
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2982:
2979:
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2958:
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2954:
2953:Il campanello
2950:
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2926:
2925:
2921:
2918:
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2900:Maria Stuarda
2897:
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2508:
2507:
2506:Il Pigmalione
2503:
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2500:
2496:
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2415:
2411:
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2402:
2401:
2400:
2399:Other sources
2393:
2389:
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2382:
2379:
2375:
2373:
2369:
2365:
2361:
2360:Maria Stuarda
2357:
2354:
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2347:
2344:
2340:
2337:
2333:
2330:(hardcover).
2329:
2325:
2321:
2320:
2315:
2312:
2311:0-931340-71-3
2308:
2304:
2300:
2297:
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2290:
2287:
2283:
2280:
2276:
2272:
2269:
2268:0-14-029312-4
2265:
2261:
2260:Amanda Holden
2257:
2253:
2250:
2249:0-521-23526-X
2246:
2242:
2238:
2235:
2234:Maria Stuarda
2231:
2228:
2225:
2221:
2220:
2219:
2218:
2217:Cited sources
2210:
2205:
2195:
2188:
2184:
2178:
2171:
2165:
2158:
2157:
2149:
2142:
2138:
2134:
2133:
2132:Maria Stuarda
2126:
2117:
2108:
2099:
2090:
2082:
2076:
2072:
2065:
2058:
2057:The Telegraph
2054:
2052:
2051:Maria Stuarda
2044:
2037:
2033:
2031:
2030:Maria Stuarda
2023:
2016:
2011:
2005:
2000:
1994:
1988:
1973:
1969:
1968:"Mary Stuart"
1963:
1956:
1950:
1948:
1940:
1939:Stanley Sadie
1936:
1935:
1930:
1925:
1923:
1921:
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1917:
1915:
1907:
1903:
1902:Maria Stuarda
1897:
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1836:
1827:
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1795:
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1777:Maria Stuarda
1772:
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1613:
1612:Erato Records
1609:
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1473:
1472:Sonia Ganassi
1468:
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1444:Simone Alaimo
1440:
1435:
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1427:
1424:
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1411:
1406:
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1398:
1393:
1392:David Rendall
1388:
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1324:
1320:
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1309:
1307:
1306:Louis Quilico
1302:
1297:
1292:
1291:Beverly Sills
1289:
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1278:
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1120:
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1049:
1046:
1042:
1039:, London and
1038:
1034:
1033:
1027:
1025:
1024:Maria Stuarda
1020:
1016:
1014:
1009:
1007:
1003:
1002:Maria Stuarda
999:
998:
997:Maria Padilla
993:
992:
982:
981:
980:
978:
972:
970:
966:
962:
957:
947:
944:
940:
935:
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865:
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855:
852:
849:
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844:
842:
838:
835:
834:
831:
828:
826:
825:mezzo-soprano
823:
821:
817:
816:
813:
810:
807:
805:
801:
798:
797:
794:
791:
789:
786:
784:
780:
779:Maria Stuarda
777:
776:
772:
766:
764:
761:
758:
757:
749:
747:
743:
741:
740:
735:
734:Maria Stuarda
731:
727:
723:
719:
716:to date. The
715:
714:Maria Stuarda
711:
707:
702:
700:
696:
695:Pacific Opera
692:
691:Maria Stuarda
688:
682:
680:
676:
672:
668:
667:Beverly Sills
664:
660:
656:
652:
647:
644:
640:
639:
634:
629:
627:
623:
619:
615:
614:Carnegie Hall
604:
602:
598:
594:
590:
586:
582:
578:
574:
570:
566:
562:
558:
554:
550:
546:
542:
538:
537:Reggio Emilia
534:
533:Maria Stuarda
530:
525:
523:
519:
513:
511:
507:
503:
502:Maria Stuarda
495:
494:Maria Stuarda
485:
481:
479:
470:
469:
468:
466:
465:
460:
456:
452:
451:Giovanna Gray
447:
444:
435:
431:
429:
426:
422:
421:
420:
418:
411:
407:
406:Maria Stuarda
402:
398:
396:
392:
391:Andrea Maffei
386:
384:
383:
378:
377:Felice Romani
371:
370:Maria Stuarda
362:
358:
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233:Maria Stuarda
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209:
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204:Maria Stuarda
201:
197:
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187:
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177:
173:
172:
167:
163:
158:
156:
155:
151:'s 1800 play
150:
146:
145:Andrea Maffei
142:
138:
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126:
122:
118:
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116:Maria Stuarda
104:
89:
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63:
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57:
53:
46:
41:
38:
34:
29:
26:
25:Maria Stuarda
22:
19:
3127:
3119:
3113:Don Pasquale
3111:
3103:
3095:
3087:
3079:
3071:
3063:
3055:
3047:
3039:
3031:
3023:
3015:
3007:
2999:
2991:
2983:
2975:
2967:
2959:
2951:
2943:
2930:
2922:
2914:
2908:Buondelmonte
2907:
2906:
2899:
2898:
2890:
2882:
2874:
2866:
2858:
2850:
2842:
2834:
2826:
2818:
2810:
2802:
2794:
2786:
2778:
2770:
2762:
2754:
2746:
2738:
2730:
2722:
2714:
2706:
2698:
2690:
2682:
2674:
2666:
2658:
2650:
2642:
2636:Don Gregorio
2634:
2626:
2618:
2610:
2602:
2594:
2586:
2578:
2570:
2562:
2554:
2546:
2540:
2532:
2524:
2518:
2512:
2504:
2438:
2437:Synopsis on
2405:
2398:
2397:
2377:
2367:
2363:
2359:
2351:
2317:
2302:
2292:
2285:
2279:The Guardian
2278:
2258:, edited by
2255:
2240:
2233:
2223:
2216:
2215:
2204:
2194:
2187:vil bugiarda
2186:
2182:
2177:
2169:
2164:
2155:
2148:
2131:
2125:
2116:
2107:
2098:
2089:
2070:
2064:
2056:
2050:
2043:
2035:
2029:
2022:
2010:
1999:
1993:The Guardian
1992:
1987:
1975:. Retrieved
1971:
1962:
1954:
1937:, edited by
1932:
1905:
1901:
1886:vil bastarda
1885:
1880:
1871:
1862:
1852:
1848:
1844:
1839:Black, p. 33
1835:
1826:
1816:
1807:
1797:
1788:
1780:
1776:
1759:
1730:
1721:
1712:
1704:
1626:
1625:
1595:Matthew Rose
1567:Cat: 101 361
1434:Agnes Baltsa
1311:Aldo Ceccato
1246:Leyla Gencer
1208:
1204:
1200:
1197:
1193:
1192:
1183:
1180:
1176:
1175:
1170:
1166:
1164:
1160:
1159:
1149:
1141:
1138:Lord Darnley
1133:
1129:
1127:
1122:
1118:
1114:
1112:
1104:
1103:
1098:
1094:
1091:
1086:
1082:
1079:
1075:
1070:
1066:
1063:
1059:
1058:
1023:
1021:
1017:
1010:
1005:
1001:
995:
989:
987:
976:
973:
968:
953:
939:Buondelmonte
938:
936:
929:
921:Don Giovanni
919:
912:
880:
861:
840:
819:
803:
782:
769:(Conductor:
744:
737:
733:
713:
709:
706:Dallas Opera
703:
690:
689:in 2005 and
683:
648:
642:
636:
630:
622:Leyla Gencer
610:
532:
529:Buondelmonte
528:
526:
522:vil bastarda
521:
517:
514:
501:
499:
493:
482:
478:Buondelmonte
477:
475:
462:
455:Buondelmonte
454:
450:
448:
440:
427:
414:
410:Buondelmonte
409:
405:
399:
387:
380:
374:
369:
350:
291:
283:
281:
273:
268:
261:Maria Stuart
260:
253:
251:
232:
228:Buondelmonte
227:
226:
220:
207:
203:
199:
193:
183:
169:
168:, including
162:Tudor period
159:
154:Maria Stuart
152:
128:
120:
115:
114:
113:
78:Maria Stuart
76:
24:
18:
3228:1835 operas
3065:La favorite
3049:Les martyrs
2772:Anna Bolena
2439:Opera Today
2141:Opera North
2137:BBC Radio 3
2071:La Malibran
1908:, Number 3.
1382:Janet Baker
1352:Roger Soyer
991:Anna Bolena
943:Cenerentola
830:Teresa Moja
739:Anna Bolena
710:Anna Bolena
671:Janet Baker
638:La favorite
543:(1837), in
382:Anna Bolena
200:Anna Bolena
180:Anne Boleyn
174:(named for
171:Anna Bolena
143:, based on
121:Mary Stuart
3207:Categories
2572:La zingara
2534:Una follia
2368:Opera Cues
2364:Don Carlos
2352:Opera News
2336:0195170679
2183:donna vile
1955:Opera News
1783:, Number 3
1622:References
1494:Cat:33407
1232:Conductor,
1215:Recordings
1047:, England.
800:Elisabetta
763:Voice type
708:with both
518:donna vile
321:Mercadante
239:in Milan.
176:Henry VIII
95:1835-12-30
55:Librettist
2945:Belisario
2783:(1828-31)
2513:Olimpiade
2343:419285866
2135:based on
1397:Alan Opie
1188:Babington
965:cabaletta
961:cantabile
897:A herald
699:Operabase
585:Barcelona
317:Mazzucato
313:Gabrielli
3192:Category
2860:Parisina
2724:Il paria
2345:(eBook).
2301:(1994).
1991:Ashley,
1977:15 April
1458:Phillips
1030:Synopsis
867:baritone
643:Favorite
595:(1843),
575:(1842),
571:(1841),
567:(1840),
553:Florence
506:La Scala
464:Paradiso
408:becomes
325:Nicolini
277:Gloriana
237:La Scala
137:libretto
103:La Scala
87:Premiere
73:Based on
65:Language
3157:Related
3147:Requiem
3001:Poliuto
2935:(1835)
2441:website
1491:Dynamic
1417:Chandos
1333:1974/75
1035:Place:
837:Roberto
788:soprano
577:Granada
569:Bologna
545:Ferrara
341:Rossini
135:, to a
105:, Milan
93: (
68:Italian
31:Tragic
3233:Operas
3149:(1835)
3132:(1843)
3124:(1843)
3116:(1843)
3108:(1844)
3100:(1842)
3092:(1841)
3084:(1841)
3076:(1841)
3073:Adelia
3068:(1840)
3060:(1840)
3052:(1840)
3044:(1840)
3036:(1839)
3028:(1839)
3020:(1839)
3012:(1838)
3004:(1838)
2996:(1838)
2988:(1837)
2980:(1837)
2972:(1836)
2964:(1836)
2956:(1836)
2948:(1836)
2927:(1835)
2919:(1834)
2911:(1834)
2903:(1834)
2895:(1834)
2887:(1834)
2879:(1833)
2871:(1833)
2863:(1833)
2855:(1833)
2847:(1833)
2839:(1832)
2831:(1832)
2823:(1832)
2815:(1832)
2812:Fausta
2807:(1831)
2799:(1831)
2791:(1831)
2775:(1830)
2767:(1830)
2759:(1830)
2751:(1830)
2743:(1829)
2735:(1829)
2727:(1829)
2719:(1828)
2711:(1828)
2703:(1828)
2695:(1828)
2687:(1827)
2679:(1827)
2671:(1827)
2663:(1827)
2655:(1826)
2647:(1826)
2644:Elvida
2639:(1826)
2631:(1826)
2623:(1824)
2615:(1824)
2607:(1823)
2599:(1823)
2591:(1822)
2583:(1822)
2575:(1822)
2567:(1822)
2559:(1820)
2551:(1819)
2543:(1819)
2537:(1818)
2529:(1818)
2521:(1817)
2515:(1817)
2509:(1816)
2498:Operas
2414:601625
2412:
2341:
2334:
2326:
2309:
2266:
2247:
2077:
1953:Siff,
1237:Label
1146:Boleyn
924:, and
900:tenor
601:Pesaro
597:Lisbon
589:Venice
583:, and
581:Málaga
565:Madrid
561:Venice
557:Ancona
541:Modena
424:words:
345:Vaccai
333:Pavesi
329:Pacini
305:Coccia
301:Carafa
223:Naples
206:, and
192:) and
1799:Opera
1627:Notes
1526:Naxos
1524:DVD:
1489:DVD:
1380:Dame
1369:Decca
1222:Year
1156:Act 2
1055:Act 1
950:Music
926:Norma
846:tenor
759:Role
752:Roles
732:gave
593:Padua
587:plus
573:Porto
549:Malta
459:Dante
337:Pugni
309:Fétis
125:opera
33:opera
3081:Rita
2410:OCLC
2366:),
2362:and
2339:OCLC
2332:ISBN
2324:ISBN
2307:ISBN
2264:ISBN
2245:ISBN
2075:ISBN
1979:2018
1610:DVD:
1576:2015
1534:2008
1499:2007
1466:2001
1456:CD:
1425:1989
1415:CD:
1377:1982
1367:CD:
1321:CD:
1287:1971
1275:CD:
1242:1967
1225:Cast
994:and
886:bass
712:and
624:and
591:and
563:and
547:and
539:and
472:not…
1931:in
1904:",
1779:",
461:'s
267:'s
182:),
164:in
139:by
35:by
3209::
2277:,
2055:,
2034:,
1970:.
1946:^
1913:^
1893:^
1796:,
1768:^
1739:^
1692:^
1678:^
1666:^
1654:^
1634:^
1399:,
1043:,
934:.
879:,
860:,
839:,
802:,
781:,
773:)
701:.
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