Once again, Utah Opera young artists demonstrate their ability to take on a heavy-weight and deal with it. Not all with the same degree of success, as all have not the same degree of voice or dramatic talent. But in performing "Maria Stuarda," the singers carry out some of their training program's important objectives - to give a fine, audience-involving performance and to develop skills that will carry over into other contexts.
On the first count, Friday's audience was greatly entertained by a competent, engrossing performance. And in future, bel canto should hold few terrors for sopranos Jill Sparks and Donna Slabaugh, who both go over the top in the difficult roles of Elizabeth I and Mary Queen of Scots.Indeed, the program's presentation of a final work that does not condescend to the singers but offers them a stiff challenge (a sort of doctor's dissertation in sound) is one of its greatest strengths.
Slabaugh sings the doomed Scottish queen most affectingly and expressively, with sincerity and natural charm. Her voice is of beautiful, sympathetic quality, strong and pliant, and she possesses a fine pianissimo. She never sounds forced, though the music takes her to her upper limits. Her many beautiful arias are climaxed by her touching confession scene and final prayer.
Jill Sparks manages the more stiff and fiery demands of the stormy Elizabeth with her finest performance to date. The voice is even, clear and clean, strong enough to score effectively; she projects passionate fireworks, and looks the part commandingly. The encounter of the queens at Fotheringay, introduced by a beautiful sextet, builds to a passionate climax.
One must allow historical license to Donizetti in this piece, whose plot has little connection with real life. In actual fact, the two queens never met. Events that took place 10 and 20 years apart are super-imposed, and composite characters abound. Leicester and Mary hardly knew each other, say nothing of being romantically attached; and certainly Talbot was no Catholic priest in disguise.
Yet Donizetti's plot, derived from a play by Schiller, does make good theater, and wonderful music. Without doubt, we are spoiled by Supertitles. Seeing opera in Italian without them makes you appreciate what they add to understanding and enjoyment.
Among the men, Robert Baker's Leicester is pleasant enough, but he often sounds over-stressed and pushed beyond his comfort zone. Joseph Onstott has little chance to show as the brooding Cecil but does well with his small assignment. Paul Seager as Talbot is low-key, non-assertive and sometimes hard to hear. Mary Ann Dresher performs the role of Mary's companion Anna sympathetically.
Staging by Columb Robinson is minimal, but tasteful and pointed. Costuming by Susan Memmott Allred is attractive, often sumptuous, and always in period. Lynn Jemison-Keisker and members of the Utah Symphony (including many first chair players) give this performance great underpinnings, playing with class, spirit and propulsive drive.