David Gregson

San Diego Arts

Angela Gilbert Takes Over San Diego Opera "Maria Stuarda"

By David Gregson
Posted on Thu, Feb 21st, 2008
Last updated Thu, Feb 21st, 2008

Walking back to my car following the applause and final bows for the opening night performance of Donizetti’s Maria Stuarda at Civic Theatre, I overheard two ladies raving about one of the opera’s final moments. “Oh, that gorgeous chorus with the soprano kneeling! What was it? Does it have a name?”

“That was the ‘Prayer’ from Maria Stuarda,” I volunteered with absurd redundancy. I suppose I should have been more of the pedant and said, “Deh! tu di umile preghiera.” But I had to look that up when I got home. The “Preghiera” will do, I think.

Curiously, in an opera which features long, demanding parts for the two principal women -- Elizabeth, Queen of England (a mezzo-soprano) and Mary, Queen of Scots (a soprano) -- it’s this simple, somewhat four-square chorus that sticks in the mind. But what makes it really memorable is the soprano’s long, sustained note on the not terribly profound text of “Ah, si!,” (“Ah, yes!”) traditionally delivered unbroken, in one breath – and gliding into a higher note as it grows louder. Or at least so the recorded legacy shows. (I do not own a printed score.) I provide a link here to Joan Sutherland singing this note– and to Montserrat Caballe doing the same thing. (Too bad about that little burble at the onset!) There is no apparent link available to the Sills version, unfortunately, because that is truly spectacular on the DG recording – and it is even followed by a second, mirror phrase – perhaps added by Sills herself. Sutherland doesn’t sing it. Sills seems to add all sorts of fireworks and ornamentation in the final scene. And throughout, for that matter.

Well, that’s bel canto for you. Beautiful singing. And though I think of opera as total theater in which drama and singing are equals, there are some times when the music trumps the acting entirely – and this is one of them.

Angela Gilbert in the "Prayer" from Maria Stuarda

Photo Copyright © 2008 Ken Howard

Which leads me to say, the beautiful and abundantly talented South African soprano Angela Gilbert (against whom I bear no conceivable grudge and bear no animosity whatsoever) appeared to take a breath during this sustained phrase Tuesday night after she had finally stepped into the part. She had missed opening night Saturday on account of the flu – and, frankly, she may have been suffering from a loss of breath control because of her recent illness. This lack of properly supported tone seemed to affect a good deal of her vocal performance, one which was not consistently lovely. This singing actress herself, however, performed with considerable passion and affective involvement. Yet, bel canto may not really be her thing. She’ll have to discover that for herself. Or perhaps she will ripen into a brilliant bel canto singer. Or was it just the flu?

Look, it’s no crime to be beautiful, talented, gifted with a lovely voice and still not be able to pull off Bellini and Donizetti! Look at the divine Anna Netrebko – marvelous in so very many things – but certainly NOT Puritani or Lucia. Or the fabulous Karita Mattila, a bit cold for Puccini (as last week’s telecast of Manon Lescaut indicated).

My assessment of Ermonela Jaho, Gilbert’s opening night stand-in appears at this site elsewhere. Frankly, between the two performances – I’d say it’s about even. A toss-up, if you will.

Sitting through this second performance of Maria Stuarda left me with the following impressions: As Elizabeth, mezzo-soprano Kate Aldrich was even stronger than on opening night. Armenian tenor Yeghishe Manucharyan was somewhat improved, but still hampered by a silly looking costume. The conducting and choral singing had tightened up and were more effective. Donizetti’s music is easy to like, but largely routine except in few scenes. One of the most ineptly composed bits is the famous confrontation of the queens in which the music sounds as if it’s intended for a light comedy. (Maybe that’s the point?) And the character of Earl of Leicester is, on the whole, annoyingly intrusive. Still, when great singers are on the stage, it's a wonderful piece to hear. And I would advise anyone to see this San Diego show, whatever its faults.

For those who would like to know more about the gifted Ms. Gilbert,< there is a link to her website.

---------------

SO WHAT'S IN THE SCORE? Marty Bloom writes, "In looking at the solo soprano's line during the prayer, there is a sustained G for 9 bars in 3/4 time, plus one note, for a total of 28 beats, rising in the last full bar to a Bb, all on 'Ah!' That's a fairly long time to sustain a note on one breath, but it really all depends upon the tempo. Then at the very end of that piece, still in 3/4 time, she starts 'Ah!' on an F for two measures, rises to a Bb for two measures, and drops to a final Eb for a single beat on the word 'si'. But the score does not require it to be done in one breath. There is a break for a breath before rising to the Bb. Also, I can't imagine any soloist not holding that last note a lot longer than one beat."

About the author: David Gregson has been an active and widely published commentator on the local music scene since the 1960's. He has contributed to many San Diego newspapers and magazines as well as to national and international periodicals.
More by this author.

Subscribe to Arts

 · 

Comments

Posted by SDO Chorister	Thu, Feb 21st, 2008
Poster of this message also appears(2) to post as: Joseph Joseph G.
Being in the Chorus, I can confirm that Miss Gilbert sustained that glorious note [and its ending ascent] at all staging rehearsals and during tech week. That she sang the role as beautifully as possible Tuesday night is a testament to her being a trouper -- and a quick and artistically placed catch breath is a "hardship" I'm sure the audience didn't mind enduring, in light of her excellent contributions to the rest of the evening's performance.

(1)sandiego.com, Inc. invites comments in which readers can respond freely and anonymously if they wish. Comments submitted by readers will be rejected that are deemed by the editors to be damaging to the future of this web site.
(2)Comparison is made from the IP Address identity of the computer placing the posts. Some networks share these addresses between users.