In her newest release, Diana Damrau presents the final acts in Donizetti’s ‘Tudor Queens’ trilogy. A solo soprano album with full acts is something of a rarity these days, as most artists opt for a multiple opera arias program. This full-act conception allows Damrau to examine more fully the characters of Donizetti’s Anna Bolena, Maria Stuarda, and Elisabetta from “Roberto Devereux”.
“Chi può vederla” (track 1) shows a collaborative effort that brings Anna Bolena’s story to life. The Orchestra and chorus dell’Accademia Nazionale di Santa Cecilia under Antonio Pappano opens with expansive chords that immediately bring a gravitas to the forefront; moving at a brisk and unrelenting pace afterward, it seems to represent the inevitable arrival of her death. The chorus takes a much more subdued approach, particularly in the quiet moments. It is almost as if they are a distant, helpless observer who must watch the queen face her consequence alone.
When Damrau emerges in Piangete voi? (track 2), she masterfully transforms Anna’s fragile psychological state into a vivid musical context. Well-crafted phrases display Anna’s hope when she remembers her own wedding to Henry, panic in recalling Percy, and anguish when she fears she might die alone. When we get to Al dolce guidami (track 3), a lovely and gentle woodwind solo takes us to a different place as Bolena remembers her childhood home. While the orchestra maintains the backdrop of a calm and dreamy scene, Damrau adds a note of complexity to the idyllic words. There is a lingering sadness, even a hint of regret, that reminds us of the true circumstances of her recollection. Chi mi sveglia (track 6) jolts us back to reality. When Anna hears wedding bells signaling Henry’s new marriage, she also knows they signal her death. Though her voice is bright and buoyant, she combines this with a power that captures the protagonist’s determination: her death will not be in vain. Coppia iniqua (track 7) escalates this resolve into defiance. In cursing the “wicked” new couple who lives because of her sacrifice, Damrau’s voice is now electrified, reflecting a tension that has turned into rage.
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Where Anna Bolena’s suffering is personal, Maria Stuarda is a product of an unfortunate web of circumstance: a contentious relationship with her cousin, jealousy over a lover, and accusations of treason. The deep expressivity of Damrau’s Di un cor che muore (track 12) shows Maria’s gradual acceptance of her departure as a symbol of penance, absolution, and sacrifice. While the opening lines are effusive and declamatory, it is the ending that is particularly beautiful and heart-wrenching. The singer’s gentle touch in the final line conveys Maria’s calm and dignified acceptance of her fate.
Queen Elizabeth in Roberto Devereux is a heroine who is presented with a dilemma of character. As a ruler, she must maintain an outward austerity (she sings “no mortal must ever say that he has seen the Queen of England weep”). However, she cannot deny her more sensitive side: she feels love and worries for Robert Devereux, whose execution she has ordered. Damrau’s interpretation in E sara (track 15) and Vivi Ingrate (track 16) highlights this conflict effectively. In E sara, Damrau’s full-body timbre bolsters her impassioned yet commanding presence. At the same time, she still skillfully brings out the more delicate nuances like the pervading listlessness Elizabeth experiences as she awaits Devereux’s return. Vivi Ingrate sees the tension gives way to resignation when she realizes that the forgiveness she bestows upon her lover also causes her pain. Here, Damrau displays her impressive range – while low notes can be many sopranos’ weakness, hers are as rich and solid as her highest ones.
In Che m’apporti (track 17) Elizabeth realizes that it is too late to save Devereux from his demise. This is the singer’s most powerful performance on the album. Damrau maintains an excellent balance in expressing the Queen’s boiling rage and creating a musical delivery: though some notes are punctuated for effect, they never sound overly angular or harsh. At the same time, they create the necessary suspense that brings us to Quel Sang (track 18). A riveting performance, there is a steeliness in Damrau’s approach which hearkens back to the Queen’s outer, protective facade. However, the defiance is also mixed with despair as she sings of the haunting aftermath of the execution. A virtuosic conclusion adds a sparkling final touch.
With informative liner notes and sound engineering that brings out the nuanced aspects of the singers and orchestra, this is a highly recommended listen.
“Tudor Queens” – 3 Acts by Donizetti
Diana Damrau – Soprano
Coro dell’Accademia Nazionale di Santa Cecilia
Orchestra dell’Accademia Nazionale di Santa Cecilia
Antonio Pappano – Conductor
Erato / Warner Classics, CD 9029528093
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