Reviving their splashy 2016 production of Maria Stuarda, Melbourne Opera provides a worthy showcase for the prodigious talents of star soprano Helena Dix.
It may well be standard practice for opera companies the world over to return their productions to the stage again and again, yet Melbourne Opera has generously spoiled its audience over the years with a seemingly limitless flow of new productions. The current season of Maria Stuarda is a welcome revival of the 2015 staging of Mary Stuart, which marked the beginning of the celebrated Melbourne Opera Tudor Queens trilogy.
Director Suzanne Chaundy returns to the work, along with key performers Henry Choo (Roberto, Earl of Leicester), Eddie Muliaumaseali’i (Lord Cecil), and Caroline Vercoe (Anna, Maria’s companion).
The key attraction of this revival, Dix is in stellar form as Maria. Having instantly been taken to the hearts of her home audience in 2017 with Lohengrin (closely followed by Roberto Devereux), Dix continues to mature and grow as an artist as she works upon the world stage. With control of her instrument ever sharper, Dix clearly makes meticulous preparation for the role and then has the unflinching ability to deliver a highly nuanced, carefully calibrated performance. Dix’s pianissimi, in particular, are exquisite.
Well proven as Chorus Master, Melbourne Opera Head of Music Raymond Lawrence steps up to conduct the season of Maria Stuarda, doing double duty by retaining his chorus master responsibilities. The result is a beautifully blended, expertly realised musical performance that is as satisfying as it is entertaining. The Melbourne Opera Orchestra is in top form, bringing out the full colour and dramatic expression of Donizetti’s score.
Working with movement director Lisa Petty, Chaundy improves on the previous outing, presenting the ensemble as gracious men and women of court. Entrances and exits proceed smoothly and ensemble motivation is clearly established and conveyed, capably supporting the tension of the central drama.
Strong in act one, the Melbourne Opera Chorus really impresses in act two, when they open the final act with a rather glorious performance of “Vedeste? – Vedemmo. Oh truce apparato!”, going on to support Maria in her prayer “Deh! Tu di un úmile preghiera il suono odi”.
Christina Logan-Bell’s abstract Tudor rose setting remains impressively handsome and characterful, a fittingly elegant backdrop for Jennie Tate’s glossy costumes, which were originally designed for Opera Australia and are refurbished for this season by Rose Chong Costumes.
In staging the whispered asides of the duelling queens, Chaundy is somewhat hamstrung by the relatively small stage space, and yet the tension happily builds and buzzes as the fictionalised meeting of the women approaches. Dix’s warmly endearing characterisation of Maria Stuarda provides a likeable protagonist, amplifying the haughty distance of Elizabeth I by contrast.
Chaundy grounds the drama in real emotion and yet allows just a glimmer of Dynasty-like camp into the catty rivalry and confrontation of act one. Dix’s outburst when Maria gives in to her anger is keenly felt and her fate is firmly sealed when the first act curtain falls.
Tautly constructed, act two pits Elisabetta against the determined machinations of Cecil and the heartfelt pleas of Roberto before focusing squarely on doomed diva Maria. While Maria languishes under actual imprisonment, Elisabetta faces the torment of a virtual prison of her own. With the tone now clearly and necessarily serious, the drama moves inexorably to its tragic conclusion.
Having previously sung as a mezzo soprano, the soprano voice of Eleanor Greenwood has a richly expressive middle range. Initially having difficulty establishing the imperious nature of Queen Elizabeth I, Greenwood warms into the role as the opera progresses, achieving particular success in act two as Elisabetta is visibly torn between the remonstrations of Cecil and Roberto, all the while facing her own inner demons.
His luxurious tenor rich in ardent romantic tone, Henry Choo brings a dashing presence to Roberto, fictionalised as a romantic interest of both Elisabetta and Maria.
In excellent voice, baritone Christopher Hillier brings a commanding presence to noble Talbot, conveying the torment of a compassionate man in an impossible situation.
Quickly moving past some minor vocal scratches, veteran bass Eddie Muliaumaseali’i remains in sonorous form, maintaining an imposing presence as Lord Cecil, vigilant Chancellor of the Exchequer.
A gifted singer and highly empathetic actress, mezzo soprano Caroline Vercoe imbues dear Anna with abundant tenderness as the poor woman tries to set aside her own misery to stay brave in her devotion to Maria.
In a year when grand opera on the Melbourne stage is decidedly scant, the pleasures of Maria Stuarda shine all the more brightly.
Maria Stuarda plays select dates until 17 September 2023 at Athenaeum Theatre, Melbourne. For tickets, click here.
Photos: Robin Halls