DONIZETTI: Maria Stuarda.(Review)

DONIZETTI: Maria Stuarda [] Gruberova, Oprisanu, Lucas; Arevalo, dal Monte, Bronikowski; Munchner Rundfunkorchester, Chor des Bayerischen Rundfunks, Viotti. Text and translation. Nightingale Classics NC190209-2 (Koch, dist.)

Sovereignty isn't easy to maintain. Ask any queen. On the heels of the release of, and raves for, Beverly Sills's "Three Queens" boxed set, would-be usurper Edita Gruberova completes her own Donizetti trittico for the Nightingale label with this Maria Stuarda, recorded in 1998 and only released now. This is actually Gruberova's fourth Donizetti queen -- she previously recorded Stuarda for Philips (1989), with Giuseppe Patane conducting.

Maria Stuarda is perhaps the most difficult to bring to life of Donizetti's three Tudor queens. The title role affords ample diva moments, although it is written more for long linear display than for vocal fireworks of the coloratura variety. As Gruberova is a singer who excels at both, this is not a problem, and what florid singing there is is delivered energetically and accurately on both of her recordings. The difference of nine years between Gruberova Stuardas does not amount to the kind of vocal difference (i.e. decline) one encounters in, say, Callas's stereo re-recordings of Lucia or Norma. The Gruberova voice is basically the same in the two Stuardas; the earlier recording has a bit more freedom and spin, the later more subtlety. The soprano's tendency to swoop up to high notes has become quite pronounced by the more recent reading, and some of the pianos are a bit wiry, although others are as lovely as ever. The interpretation has become quieter, less ...