Donizetti * Maria Stuarda _ "Figlia impura di Bolena" / Ashley Putnam, Marisa Galvany / Pallo, cond.

MARIA STUARDA
Gaetano Donizetti
Tragedia lirica in two acts by Gaetano Donizetti, libretto by Giuseppe Bardari, based on Andrea Maffei's translation of Friedrich Schiller's 1800 play Maria Stuart.
By Peter G. Davis
March 25, 1981
There was a curious underlying quality about the New York City Opera's ''Maria Stuarda'' revival Sunday night. Part of the reason had to do with the work, which is more subtle and interior than Donizetti's other operas about British royalty.
But it also had a great deal to do with Ashley Putman's performance of Mary Stuart as she faces her last days before execution.
Miss Putnam looked lovely, vulnerable and, when called on, proud and regal, her singing really taking flight in "Figlia impura di Bolena". The innate beauty of her soprano was never in doubt, nor the fact that she had carefully studied every aspect of the role. There was a consistent element of bravery about her work, great control, consistent head tones and a general feeling of vocal acrobatics under total control. Her voice sounded vigorous which future performances will turn to something even more substantial.
Marisa Galvany sailed into Elizabeth, literally with a vengeance. Her steely soprano could hardly be termed beautiful, nor is her technique especially polished, and her acting verges dangerously toward silent-film camp. Despite all her stylistic crudities, Miss Galvany certainly made her presence felt.
The male roles in this opera do not amount to a great deal, but Barry McCauley's attractive tenor rang out with firm conviction save for a strained top note or two in Leicester's music, while William Justus as Talbot, John Seabury as Cecil and Jane Shaulis as Anna dealt competently with their assignments.
Fabrizio Melano, in his company debut, has restaged the action with understated effectiveness, and Imre Pallo conducted alertly and efficiently.
A version of this article appears in print on March 25, 1981, Section C, Page 21 of the National edition with the headline: OPERA: MARIA STUARDA'. The New York Times ©

[@tonshaad1230]

An example of no chest voice versus caballe's visceral, almost growl-like chest in this same scene.

[@AllenFigueredo5]

Tasteless sustained high tones at the beginning, lack of developed chest voice: lack of core and dramatic intensity.