J-DiD as M-Stu.
Even as I indulge in Susan Graham’s soon-to-be-legendary performances as Dido, Queen of Carthage, in Berlioz’s Les Troyens at the Metropolitan Opera (now playing), I’m getting psyched for Joyce DiDonato’s Mary, Queen of Scots. Donizetti’s Maria Stuarda opens at the Met on New Year’s Eve, and it’s a company premiere. With Joyce’s Drama Queen mojo pumping these days, these performances should be nothing short of spectacular.
And there’s an added bonus, almost as exciting (at least to bel canto fans like me) as the singing itself. Even Donizetti operas could be longer than they are, and Maria Stuarda is no exception. I’ve learned that the Met’s production restores a final scene, long believed to be lost, to a libretto by Monte Pitone. By special arrangement, I’m pleased to present the text now.
Drama Queen.
Maria has just finished her prayer. There is a knock at the door.
ASSASSIN: Tu sei Maria, Regina di Scozia?
MARY: Son’ io!
ASSASSIN: T’ammazerò!
MARY: Aiiii! Aiiiii!!!
The ASSASSIN chases MARY around the stage, beating her with a stick and throwing dishes and furniture at her. There are thumps, bangs, slaps, pneumatic drilling, sawing, flogging, shooting, all interlaced with Mary's screams.
MARY: Aiiiii!!! Aiiiiiiii!! Soccorso!!!
Under this furious assault, MARY collapses on the floor. Silence. Then…
ASSASSIN: Penso che sia morta!
MARY: Non sono!
MARY rises to her feet and resumes running around the room, while the ASSASSIN chases her. More mayhem.
As the curtain falls, Pinkerton returns, then realizes he’s in the wrong opera, and the Penguin on the Telly explodes.
And there’s an added bonus, almost as exciting (at least to bel canto fans like me) as the singing itself. Even Donizetti operas could be longer than they are, and Maria Stuarda is no exception. I’ve learned that the Met’s production restores a final scene, long believed to be lost, to a libretto by Monte Pitone. By special arrangement, I’m pleased to present the text now.
Drama Queen.Maria has just finished her prayer. There is a knock at the door.
ASSASSIN: Tu sei Maria, Regina di Scozia?
MARY: Son’ io!
ASSASSIN: T’ammazerò!
MARY: Aiiii! Aiiiii!!!
The ASSASSIN chases MARY around the stage, beating her with a stick and throwing dishes and furniture at her. There are thumps, bangs, slaps, pneumatic drilling, sawing, flogging, shooting, all interlaced with Mary's screams.
MARY: Aiiiii!!! Aiiiiiiii!! Soccorso!!!
Under this furious assault, MARY collapses on the floor. Silence. Then…
ASSASSIN: Penso che sia morta!
MARY: Non sono!
MARY rises to her feet and resumes running around the room, while the ASSASSIN chases her. More mayhem.
As the curtain falls, Pinkerton returns, then realizes he’s in the wrong opera, and the Penguin on the Telly explodes.
THE END
This leads, presumably, to her cabaletta, "Nessun' espetta l'inquisizione espagnola" ? (Which DOES use the same tune as the stretta in his "Giabbervuocchia," as Philip Gossett has detected.)
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