New York - Maria Stuarda - Donizetti - Lisette Oropesa - Dec 6 / 22 2026

 

Maria Malibran 

In 1834, Gaetano Donizetti received a commission from the prestigious Teatro di San Carlo in Naples to compose a new opera. By that time, Donizetti was already famous throughout Italy and across Europe, thanks above all to his triumph with Anna Bolena, which had premiered four years earlier at Teatro alla Scala.

Gaetano Donizetti

He immediately set to work. The experienced librettist Felice Romani was unavailable, so Donizetti took the unusual step of helping to write the libretto himself, working closely with a remarkably young collaborator: a 17-year-old student, Giuseppe Bardari. Together, they created the text, drawing on an Italian translation by Andrea Maffei of Friedrich Schiller’s drama about Mary Stuart — a translation published in the very same year that Donizetti had risen to European fame with Anna Bolena. With this opera, Donizetti demonstrated that he was not only a great composer, but also a gifted dramatist and man of the theatre.

The opera was titled Maria Stuarda, and it told the powerful story of Mary, Queen of Scots, and her rival, Queen Elizabeth I of England.

Rehearsals began in Naples, but serious problems soon arose. Misunderstandings and, above all, fierce rivalries between the two leading sopranos created tension. The stars of the premiere were Giuseppina Ronzi de Begnis and Anna del Serre, who reportedly could hardly stand one another. Amid these conflicts, and troubled by the opera’s politically sensitive subject, the King of Naples intervened and prohibited the premiere.

However, rather than cancel the work entirely, a compromise was proposed. The opera would be performed — but in a radically altered form. Donizetti agreed. The title was changed to Buondelmonte. The historical setting was moved as far away as possible from contemporary sensitivities: instead of sixteenth-century England and Scotland, the story was relocated to thirteenth-century Florence. The entire drama of the two queens disappeared. It made little dramatic sense, but the priority was clear: the opera had to be staged.

To make this transformation possible, a new librettist was called in: Pietro Salatino, who had previously worked with Donizetti on Sancia di Castiglia. Together they fashioned a new libretto based on Florentine historical tales associated with Niccolò Machiavelli. Donizetti adapted his original music to this completely different storyline. The logic no longer mattered; what mattered was that the curtain would rise and the theatre would be full.

And so, on 18 October 1834, Buondelmonte premiered at the Teatro di San Carlo. Despite their personal animosity, Ronzi de Begnis and del Serre both sang that evening — neither was willing to renounce her role or her salary. The theatre was packed, the curtain rose… and the audience was bewildered. The convoluted plot bore little relation to the emotional intensity of the music the sopranos were singing. The result was a failure. The opera was withdrawn, and Donizetti refused to reuse his score again under the title Buondelmonte.

One year later, on 30 December 1835, Donizetti brought the original score to La Scala in Milan. There, at last, the opera was performed as it had originally been conceived: with the proper libretto, the confrontation between the two queens restored, and under its true title, Maria Stuarda. This time, it was a triumph, and Donizetti was deeply satisfied.

Maria Malibran

Yet trouble struck again. The censorship authorities objected to one particular word in the famous confrontation scene: “bastarda” (“bastard”). The leading soprano at La Scala was the legendary Maria Malibran. She was instructed that the opera could be performed — but the offensive word must not be sung.

Malibran, however, was every inch a diva. She ignored the censorship and sang the word anyway. The performances continued, and for five consecutive nights she defied the prohibition. Finally, at the sixth performance, despite being warned once more, she sang the line in full: “Figlia impura di Bolena, vil bastarda!” (“Impure daughter of Boleyn, vile bastard!”). This time, the authorities acted decisively. The opera was banned. It disappeared from La Scala’s stage.

Fotheringay Castle

Scene of the confrontation between the two queens in the vicinity of the castle  

Because of the ban, Maria Stuarda fell into oblivion. Unlike Anna Bolena, it was not taken up by other theatres in Italy or abroad. Donizetti could do nothing to rescue it. The opera became almost cursed, and it vanished from the repertoire. Donizetti died without seeing it secure the lasting success it deserved.

There was a brief revival in Naples in 1865, where the opera achieved great success — tragically, long after Donizetti’s death. Yet even then, it did not enter the regular repertoire and again faded from view.

Only in the mid-twentieth century did Maria Stuarda truly return to life. Great artists such as Montserrat Caballé, Shirley Verrett, Leyla Gencer, Joan Sutherland, Beverly Sills, and Edita Gruberová restored the opera to glory, creating unforgettable evenings — including celebrated performances at La Scala. Thanks to them, and to studio and live recordings, we can fully appreciate this magnificent score and the extraordinary vocal artistry it demands.

I myself have had the great fortune to see this opera live several times with the divine Edita Gruberová. Hearing her embody the Queen of Scots was an unforgettable experience.

Today, Maria Stuarda stands recognized as one of Donizetti’s most powerful and inspired works — an opera that survived censorship, rivalry, and oblivion to reclaim its rightful place in the operatic repertoire.

Maria Stuarda in New York 2026

Few chapters in operatic history unite political drama, vocal virtuosity, scandal, and pure theatrical electricity like the so-called Tudor Trilogy of Gaetano Donizetti. With Anna Bolena (1830), Maria Stuarda (1834–35), and Roberto Devereux (1837), Donizetti achieved something no other composer has matched: three major operas centered on three historically intertwined queens — Anne Boleyn, Mary, Queen of Scots, and Elizabeth I — each portrayed with psychological depth, musical individuality, and extraordinary vocal demands.

And now, the spotlight turns once more to Maria Stuarda at the Metropolitan Opera, where a remarkable cast is poised to reign.

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The Historical and Operatic Arc

Donizetti’s trilogy unfolds almost like dynastic destiny:

• First, Anna Bolena — the fall of Henry VIII’s second wife, mother of Elizabeth.

• Then, Maria Stuarda — the confrontation between Mary Stuart and Elizabeth, daughter of Anne Boleyn.

• Finally, Roberto Devereux — Elizabeth in her later years, aging, powerful, yet emotionally vulnerable.

Though not conceived as a formal trilogy, the three works create a dramatic lineage that mirrors Tudor history itself.

What makes this even more fascinating is how Donizetti tailors the music to each queen’s psychology:

• Anna is introspective, fragile, almost haunted.

• Maria is proud, passionate, spiritually luminous.

• Elisabetta is imperious, volatile, wounded beneath the crown.

No other composer gave us such a triptych of royal womanhood.

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The Scandalous Birth of Maria Stuarda

Before arriving in New York in triumph, Maria Stuarda was born in controversy.

Originally planned for Naples, the opera was banned by the Bourbon king — partly because his wife, Queen Maria Cristina, was a descendant of Mary Stuart, and partly because the libretto’s confrontation scene was deemed scandalous. During rehearsals, the mezzo-soprano Anna Del Serre, singing Maria, reportedly hurled the famous insult “Figlia impura di Bolena!” with such blazing intensity that the soprano Giuseppina Ronzi de Begnis, cast as Elizabeth, took it personally. According to contemporary accounts, she physically attacked Del Serre during rehearsal. Naples was electrified by the scandal. The king intervened. The opera was suppressed.

Giuseppina Ronzi de Begnis  

Teatro alla Scala

It eventually premiered at Teatro alla Scala in 1835, after being postponed because the legendary Maria Malibran was indisposed. Once it opened, it was a success — but like many Donizetti works, it later fell into neglect.

The 20th century restored it to glory, thanks to towering artists such as Leyla Gencer, Beverly Sills, Montserrat Caballé, Joan Sutherland, Shirley Verrett, and later Edita Gruberová.

Each brought a different shade of regality, fury, and transcendence to the final prayer — one of bel canto’s most sublime farewell scenes.

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The Metropolitan Opera Revival: A New Chapter

The upcoming revival at the Metropolitan Opera carries special weight.

At its center is Lisette Oropesa as Maria Stuarda. Fresh from her triumph in I Puritani, she now ascends another summit of the bel canto repertoire. Oropesa’s artistry — her luminous legato, technical finesse, emotional sincerity, and stylistic intelligence — make her ideally suited to Maria’s arc: from imprisoned queen to spiritual martyr.

Opposite her stands Angela Meade as Elisabetta.

And this is where things become especially thrilling.

Traditionally, the opera is often cast with a soprano as Maria and a mezzo-soprano as Elisabetta. But when both roles are sung by true sopranos of dramatic weight and agility, the confrontation takes on a different brilliance — sharper, more vocally electrifying, almost gladiatorial in timbre. The vocal lines clash in similar ranges, increasing the dramatic tension. It becomes a duel of equals.

Meade, with her expansive voice, fearless top notes, and commanding stage presence, brings volcanic authority to Elisabetta. She excels in roles that demand both grandeur and vulnerability. Her final scene, in which Elizabeth condemns Maria yet feels the weight of her own isolation, promises to be devastating.

The emotional stakes will be immense.

Leicester, sung by René Barbera, completes the triangle of love and political rivalry, while the elegant and stylistically assured Enrique Mazzola conducts. The production is by David McVicar, whose staging is known for its psychological intensity and visual austerity — ideal for this charged historical drama.

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Why This Revival Matters

New York has a distinguished bel canto history, but every generation needs its defining Tudor queens.

In the 1970s, Beverly Sills made Maria Stuarda a vehicle of American bel canto revival. Later, Gruberová and others reaffirmed its central place in the repertoire. Now, Oropesa and Meade represent a new chapter — artists deeply grounded in style yet capable of reaching new emotional heights.

The great confrontation scene — that volcanic exchange culminating in “Figlia impura di Bolena!” — will surely electrify the Met audience. And Maria’s final prayer, “Deh! Tu di un’umile preghiera,” remains one of Donizetti’s most transcendent inspirations: serene, luminous, almost otherworldly.

When performed at the highest level, the opera moves from political drama to spiritual meditation.

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The Living Legacy of the Tudor Trilogy

What is so moving about these upcoming performances is the sense of continuity.

From Malibran’s postponed premiere…

to the scandal in Naples…

to Callas at La Scala…

to Caballé, Sutherland, Verrett, and Gruberová…

to today’s great interpreters…

The lineage is unbroken.

And New York now becomes the latest royal court in this nearly two-century history.

For those who love bel canto — and clearly, you do with passion and knowledge, as you're here reading this blog — these performances are not just another revival. They are part of an ongoing tradition that honors Donizetti’s genius and keeps these extraordinary queens alive on the stage.

It is thrilling to imagine the curtain rising at the Metropolitan Opera, the orchestra beginning the tense, noble introduction, and two great sopranos preparing to clash in one of opera’s most famous confrontations.

The Tudor crown is polished once again.

And New York is ready to receive it.

The Three Queens of Donizetti: A Bel Canto Crown

Few historical figures have inspired as much fascination as Mary, Queen of Scots, Anne Boleyn, and Elizabeth I. Their dramatic lives — filled with love, betrayal, power struggles, and tragedy — have inspired countless novels, films, plays, and operas. Among composers, no one captured their emotional intensity and political drama as magnificently as Gaetano Donizetti in his celebrated Tudor trilogy.

Composed between 1830 and 1837, these three operas — Anna Bolena, Maria Stuarda, and Roberto Devereux — form one of the most remarkable achievements in the bel canto repertoire. Although not originally conceived as a trilogy, they are now universally regarded as a unified dramatic cycle centered on the Tudor court and its most compelling women.

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Anna Bolena (1830)

Premiered at Teatro Carcano in 1830, Anna Bolena marked Donizetti’s international breakthrough. The opera focuses on the tragic downfall of Anne Boleyn, second wife of Henry VIII and mother of Elizabeth I.

The most legendary 20th-century revival took place at Teatro alla Scala in 1957, starring Maria Callas in the title role and Giulietta Simionato as Jane Seymour. Interestingly, this was Callas’s debut in the role. Though she reprised it the following season, she did not make it a staple of her repertoire — yet her interpretation remains historic.

Simionato, by contrast, had already sung Jane Seymour a decade earlier — even in Barcelona at the Gran Teatre del Liceu in 1947 — long before Callas had achieved major fame in Italy. At that time, Callas had appeared at the Arena di Verona, singing La Gioconda, but her legendary status was still in the making.

After Callas, the role became a showcase for some of the greatest sopranos in history:

Montserrat Caballé,

Leyla Gencer,

Katia Ricciarelli,

and in more recent decades, Edita Gruberová, who became particularly associated with the role in the 21st century.

More recently, Anna Netrebko brought renewed glamour and vocal richness to Anna, often alongside the magnificent Jane Seymour of Elīna Garanča, in Vienna. 

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Maria Stuarda (1834)

If Anna Bolena gave voice to the fallen mother, Maria Stuarda dramatizes the electrifying confrontation between Mary Stuart and Elizabeth I. The opera is based on Friedrich Schiller’s play and contains one of the most explosive scenes in operatic history.

Originally intended for Naples, the opera faced censorship. The Bourbon king reportedly forbade its performance — partly because of its politically sensitive content and partly because his own wife, Queen Maria Cristina, was a descendant of Mary Stuart. Even more sensational was the infamous rehearsal scandal: during the confrontation scene in which Mary hurls the devastating insult “Figlia impura di Bolena!” (“Impure daughter of Boleyn!”), the mezzo-soprano Anna Del Serre allegedly sang with such passion that the soprano Giuseppina Ronzi de Begnis took offense personally. According to accounts, Ronzi de Begnis physically attacked her colleague during rehearsal — a scandal that spread throughout Naples and contributed to the opera’s cancellation there.

Ultimately, Maria Stuarda premiered at Teatro alla Scala in 1835 (after being postponed due to Maria Malibran’s illness), and it was a success.

The opera later traveled widely — to Modena, Ferrara, Malta, Venice, Madrid, Porto, Granada, Málaga, Barcelona, Lisbon — and finally Naples in 1865, long after Donizetti’s death.

After a period of neglect, Maria Stuarda was triumphantly revived in the 20th century by artists such as:

Leyla Gencer,

Beverly Sills,

Montserrat Caballé,

Shirley Verrett,

Joan Sutherland,

Edita Gruberová,

and Agnes Baltsa as Elizabeth .

Today, anticipation surrounds performances at the Metropolitan Opera, where Lisette Oropesa sings the doomed Scottish queen and Angela Meade portrays Elisabetta, with René Barbera as Leicester under the baton of Enrique Mazzola in David McVicar’s production.

The prospect of two true sopranos in the rival roles is thrilling — as it creates a special dramatic electricity, much like hearing Norma with two soprano voices.

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Roberto Devereux (1837)

The final opera of the trilogy, Roberto Devereux, premiered in 1837 at the Teatro San Carlo. Here, Donizetti turns his focus fully to Elizabeth I in her later years, torn between political authority and personal vulnerability in her relationship with the Earl of Essex.

The role of Elisabetta is one of the most demanding in the soprano repertoire — vocally and dramatically. It requires majesty, fury, fragility, and heartbreaking resignation. Many great interpreters of Anna and Maria have also crowned their Tudor journey with this opera, completing the emotional arc from mother to rival to monarch.

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A Unique Achievement in Operatic History

No other composer created such a cohesive and psychologically layered portrait of these three intertwined queens. Donizetti gave each woman her own musical language:

• Anna — lyrical, introspective, tragic

• Maria — fiery, dignified, spiritually transcendent

• Elisabetta — imperious, wounded, human

The trilogy is not merely historical drama. It is a study of power and femininity, rivalry and legacy — and above all, a celebration of the expressive possibilities of the bel canto soprano voice.

The excitement,  anticipation and enthusiasm already created so many months in advance about the upcoming performances in New York is completely understandable. When artists like Oropesa and Meade take on these roles, they stand in a lineage stretching back nearly two centuries — to Malibran, Ronzi de Begnis, and beyond.

What makes these operas so enduring is that, despite their historical settings, they speak directly to modern audiences. The emotions are immediate. The vocal writing is dazzling. And the characters feel astonishingly alive.

It’s truly a golden crown in the operatic repertoire — and sharing this enthusiasm makes it even more beautiful. 

Les Trois Reines de Donizetti : Un Couronnement du Bel Canto

Peu de figures historiques ont suscité autant de fascination que Marie Stuart, Anne Boleyn et Élisabeth Ire. Leurs vies tumultueuses – marquées par l’amour, la trahison, les luttes de pouvoir et la tragédie – ont inspiré d’innombrables romans, films, pièces de théâtre et opéras. Parmi les compositeurs, nul n’a su capturer avec autant de brio l’intensité de leurs émotions et le drame politique de leur règne que Gaetano Donizetti dans sa célèbre trilogie des Tudor.

Composés entre 1830 et 1837, ces trois opéras – Anna Bolena, Maria Stuarda et Roberto Devereux – constituent l’une des œuvres les plus remarquables du répertoire bel canto. Bien qu’initialement conçus comme une trilogie, ils sont aujourd’hui universellement reconnus comme un cycle dramatique unifié, centré sur la cour des Tudor et ses femmes les plus fascinantes.

Anna Bolena (1830)

Créée au Teatro Carcano en 1830, Anna Bolena a marqué la consécration internationale de Donizetti. L'opéra relate la chute tragique d'Anne Boleyn, seconde épouse d'Henri VIII et mère d'Élisabeth Ire.

La reprise la plus légendaire du XXe siècle eut lieu au Teatro alla Scala en 1957, avec Maria Callas dans le rôle-titre et Giulietta Simionato dans celui de Jane Seymour. Fait intéressant, il s'agissait des débuts de Callas dans ce rôle. Bien qu'elle l'ait repris la saison suivante, il ne devint pas un élément incontournable de son répertoire – son interprétation reste néanmoins historique.

Simionato, quant à elle, avait déjà chanté Jane Seymour une décennie plus tôt – notamment à Barcelone au Gran Teatre del Liceu en 1947 – bien avant que Callas n'acquière une plus grande renommée en Italie. À cette époque, Callas s'était produite aux Arènes de Vérone dans La Gioconda, mais sa légende était encore en construction.

Après Callas, le rôle d'Anne Boleyn devint un tremplin pour certaines des plus grandes sopranos de l'histoire :

Montserrat Caballé, Joan Sutherland, Beverly Sills, Leyla Gencer,  Katia Ricciarelli et Edita Gruberová, qui s'est particulièrement attachée à ce rôle au XXIe siècle.

Plus récemment, Anna Netrebko a insufflé un nouveau souffle et une richesse vocale exceptionnelle à Anna, souvent aux côtés de la magnifique Jane Seymour d'Elīna Garanča,  à Vienne.

Maria Stuarda (1834)

Si Anne Boleyn a donné voix à la mère déchue, Maria Stuarda met en scène la confrontation explosive entre Marie Stuart et Élisabeth Ire. Cet opéra, inspiré de la pièce de Friedrich Schiller, contient l'une des scènes les plus explosives de l'histoire de l'opéra.

Initialement conçu pour Naples, l'opéra fut confronté à la censure. Le roi Bourbon aurait refusé d'assister à la représentation, en partie à cause de son contenu politiquement sensible et en partie parce que son épouse, la reine Marie-Christine, était une descendante de Marie Stuart. Plus retentissant encore fut le scandale des répétitions : lors de la scène de confrontation où Marie lance l'insulte cinglante « Figlia impura di Bolena ! » (« Fille impure de Boleyn ! »), la mezzo-soprano Anna Del Serre aurait chanté avec une telle passion que la soprano Giuseppina Ronzi de Begnis se serait sentie personnellement offensée. Selon certains témoignages, Ronzi de Begnis aurait agressé physiquement sa collègue pendant la répétition – un scandale qui fit grand bruit à Naples et contribua à l'annulation de l'opéra dans cette ville.

Finalement, Maria Stuarda fut créée au Teatro alla Scala en 1835 (après avoir été reportée en raison de la maladie de Maria Malibran) et connut un grand succès.

L'opéra voyagea ensuite beaucoup – à Modène, Ferrare, Malte, Venise, Madrid, Porto, Grenade, Malaga, Barcelone, Lisbonne – et enfin à Naples en 1865, longtemps après la mort de Donizetti.

Après une période d'oubli, Maria Stuarda a connu un triomphe au XXe siècle grâce à des artistes telles que :

Leyla Gencer, Beverly Sills,Montserrat Caballé,

Shirley Verrett,Joan Sutherland,Edita Gruberová.

Aujourd'hui, les représentations au Metropolitan Opera sont très attendues. Lisette Oropesa y interprète la reine écossaise au destin tragique, Angela Meade incarne Elisabetta et René Barbera, Leicester, sous la direction d'Enrique Mazzola dans la mise en scène de David McVicar.

La perspective de voir deux véritables sopranos dans ces rôles rivaux est exaltante. Comme vous l'avez si justement imaginé , cela crée une tension dramatique particulière, comparable à celle qu'on ressent en entendant Norma interprétée par deux sopranos.

Robert Devereux (1837)

Le dernier opéra de la trilogie, Roberto Devereux, a été créé en 1837 au Teatro San Carlo. Ici, Donizetti concentre toute son attention sur Élisabeth Ire dans ses dernières années, tiraillée entre son autorité politique et sa vulnérabilité personnelle dans sa relation avec le comte d'Essex.

Le rôle d'Élisabette est l'un des plus exigeants du répertoire pour soprano, tant vocalement que dramatiquement. Il requiert majesté, fureur, fragilité et une résignation déchirante. Nombre de grandes interprètes d'Anne et de Marie ont également couronné leur carrière d'interprètes des Tudor par cet opéra, achevant ainsi le parcours émotionnel de mère à rivale, puis à monarque.

Un chef-d'œuvre unique dans l'histoire de l'opéra Aucun autre compositeur n'a créé un portrait aussi cohérent et psychologiquement riche de ces trois reines aux destins si intimement liés. Donizetti a doté chaque femme d'un langage musical unique :

Anna — lyrique, introspective, tragique

Maria — fougueuse, digne, spirituellement transcendante

Elisabetta — impérieuse, blessée, profondément humaine

La trilogie n'est pas qu'un simple drame historique. C'est une exploration du pouvoir et de la féminité, de la rivalité et de l'héritage — et surtout, une célébration des possibilités expressives de la voix de soprano bel canto.

L'enthousiasme pour les prochaines représentations est tout à fait compréhensible. Lorsque des artistes comme Oropesa et Meade s'emparent de ces rôles, elles s'inscrivent dans une lignée qui remonte à près de deux siècles — à Malibran, Ronzi de Begnis et au-delà.

Ce qui rend ces opéras si intemporels, c'est que, malgré leur contexte historique, ils parlent directement au public contemporain. Les émotions sont immédiates. L'écriture vocale est éblouissante. Et les personnages semblent d'une vie saisissante. C'est véritablement un joyau du répertoire lyrique — et partager cet enthousiasme le rend encore plus précieux.

Mary , Queen of Scots

Munich - Maria Stuarda - Nadine Sierra - 20 Dec 2026

La stagione operistica 2026–2027 della Bayerische Staatsoper si annuncia particolarmente prestigiosa con una nuova produzione di Maria Stuarda, uno dei capolavori più nobili e intensi del repertorio belcantistico di Gaetano Donizetti. L’evento assume un significato speciale perché segnerà il tanto atteso debutto nel ruolo della regina di Scozia da parte della celebre soprano americana Nadine Sierra, una delle voci più amate della sua generazione.

La prima rappresentazione avrà luogo il 20 dicembre 2026 al Nationaltheater di Monaco, sede della Bayerische Staatsoper, alle ore 18:00. Questa serata inaugurale, attesissima dagli appassionati di tutto il mondo, darà il via a una serie di recite consecutive nel periodo natalizio, creando un’atmosfera particolarmente suggestiva per questo dramma regale e tragico.

Le recite previste con Nadine Sierra nel ruolo di Maria Stuarda sono le seguenti:

• 20 dicembre 2026 – ore 18:00 | Prima rappresentazione

• 23 dicembre 2026 – ore 18:00

• 27 dicembre 2026 – ore 18:00

• 30 dicembre 2026 – ore 19:00

• 2 gennaio 2027 – ore 18:00

In queste cinque rappresentazioni la protagonista sarà dunque Nadine Sierra, chiamata a confrontarsi con uno dei ruoli più esigenti e prestigiosi della tradizione donizettiana. Il suo debutto è atteso con immenso entusiasmo, poiché Maria Stuarda richiede non soltanto una vocalità lirica e agile, ma anche una forza drammatica capace di sostenere l’intensità del celebre scontro con Elisabetta e la profondità spirituale della scena finale.

Accanto a lei troviamo un cast di notevole livello internazionale. Nel ruolo della regina d’Inghilterra, Elisabetta, apparirà il soprano italiano Anastasia Bartoli, artista in forte ascesa che negli ultimi anni si è imposta nei principali teatri europei. La sua voce ampia e il temperamento drammatico promettono un confronto scenico di grande tensione con la Maria di Sierra, come richiede la tradizione di quest’opera, in cui il duello tra le due sovrane costituisce il cuore drammatico della vicenda.

Particolarmente interessante è anche la presenza del tenore peruviano Iván Ayón Rivas nel ruolo di Roberto, conte di Leicester. Ayón Rivas è oggi considerato uno dei giovani tenori più promettenti nel repertorio lirico e belcantistico. Dotato di un timbro luminoso, di una tecnica elegante e di un fraseggio sensibile, egli ha già conquistato il pubblico internazionale con interpretazioni raffinate. Il ruolo di Leicester, figura centrale nel triangolo emotivo dell’opera, richiede una vocalità nobile e appassionata, capace di esprimere la tensione tra amore, lealtà politica e tragedia imminente. La sua presenza arricchisce ulteriormente il prestigio di questa produzione.

Nel ruolo di Giorgio Talbot, fedele amico e sostenitore di Maria, ascolteremo il basso italiano Riccardo Fassi, mentre Lord Guglielmo Cecil, consigliere inflessibile della regina Elisabetta, sarà interpretato dal basso portoghese Vitor Bispo. Il ruolo di Anna Kennedy, la devota confidente di Maria, sarà affidato a Emily Sierra nelle recite di dicembre e gennaio.

La direzione musicale sarà affidata al maestro Antonino Fogliani, uno dei direttori più apprezzati nel repertorio belcantistico. La sua esperienza con Donizetti e il suo stile elegante e teatrale garantiscono una lettura musicale raffinata e rispettosa della tradizione, sostenuta dall’eccellente orchestra della Bayerische Staatsoper.

Dopo la serie di recite natalizie, la produzione tornerà in scena nella stagione estiva con due ulteriori rappresentazioni:

• 7 luglio 2027 – ore 19:00

• 10 luglio 2027 – ore 19:00

In queste due serate il ruolo di Maria Stuarda sarà interpretato dalla grande soprano americana Lisette Oropesa, una delle più autorevoli interpreti contemporanee del bel canto. Oropesa ha recentemente ottenuto un enorme successo nel ruolo proprio a Madrid, al Teatro Real, dove la sua interpretazione è stata accolta con entusiasmo da pubblico e critica. La sua Maria Stuarda è ammirata per la purezza stilistica, l’eleganza del fraseggio e la straordinaria capacità di unire virtuosismo vocale e intensità drammatica.

La presenza di due interpreti di tale livello — Nadine Sierra e Lisette Oropesa — rende questa produzione particolarmente interessante dal punto di vista artistico. Da un lato il debutto attesissimo di Sierra, dall’altro la maturità interpretativa di Oropesa, già acclamata nel ruolo: due visioni diverse della regina scozzese, entrambe profondamente radicate nella grande tradizione del bel canto.

In definitiva, questa nuova produzione di Maria Stuarda si preannuncia come uno degli appuntamenti operistici più importanti della stagione europea. Con un cast internazionale di alto livello, una direzione musicale specializzata nel repertorio donizettiano e due grandi protagoniste nel ruolo della sfortunata regina di Scozia, Monaco si prepara ad accogliere una serie di serate che promettono di entrare nella memoria degli appassionati di opera.

L’attesa per il debutto di Nadine Sierra nel ruolo di Maria nella grande opera di Maria Stuarda alla Bayerische Staatsoper non riguarda soltanto la protagonista. Accanto alla regina di Scozia, infatti, il pubblico assisterà anche all’interpretazione della sua formidabile rivale, Elisabetta I, affidata alla giovane soprano italiana Anastasia Bartoli.

Questa presenza aggiunge alla produzione un fascino particolare, quasi simbolico, perché Anastasia Bartoli appartiene a una vera e propria “dinastia” della lirica: è infatti la figlia della celebre soprano Cecilia Gasdia, una delle grandi protagoniste del belcanto negli anni Ottanta e Novanta.

Per molti appassionati di opera, il nome di Cecilia Gasdia è legato a una delle serate più leggendarie nella storia recente del Teatro alla Scala. Il 26 febbraio 1982, in circostanze quasi drammatiche, la giovanissima Gasdia – poco più che ventenne – fu chiamata a sostituire all’ultimo momento la grande Montserrat Caballé nella difficile parte di Anna nell’opera di Anna Bolena.

Il pubblico della Scala quella sera era accorso per ascoltare Caballé, già allora una delle regine assolute del repertorio donizettiano. La notizia della sua indisposizione aveva creato inevitabilmente una certa tensione nel teatro. Ma la giovane Gasdia, con coraggio e determinazione straordinari, accettò la sfida.

Quella sera accadde qualcosa che ancora oggi viene raccontato dagli appassionati come una piccola leggenda del teatro musicale. Per quella recita, Gasdia indossò addirittura il celebre costume utilizzato anni prima da Maria Callas nella storica produzione scaligera di Anna Bolena del 1957. Quel vestito, simbolo di una tradizione gloriosa, sembrò quasi trasmettere alla giovane cantante un’energia speciale.

Il risultato fu straordinario. Gasdia non soltanto superò la prova: conquistò il pubblico della Scala con una interpretazione luminosa, elegante, musicalmente impeccabile. Quella che era nata come una sostituzione d’emergenza si trasformò in un vero trionfo. Il pubblico, inizialmente deluso per l’assenza di Caballé, finì per tributare alla giovane soprano un’ovazione entusiastica.

Da quella sera Cecilia Gasdia entrò definitivamente nella storia della lirica. La sua carriera internazionale decollò rapidamente, portandola sui più importanti palcoscenici del mondo. La sua Anna Bolena rimase una delle interpretazioni più amate del repertorio donizettiano, ricordata per la purezza del canto, la raffinatezza dello stile e la straordinaria musicalità. Molti melomani ancora oggi la considerano una delle grandi regine donizettiane del suo tempo.

Proprio per questo motivo la presenza di Anastasia Bartoli nella nuova produzione di Maria Stuarda a Monaco assume un significato particolarmente suggestivo. In un certo senso, è come se la storia continuasse. La figlia di una celebre interprete delle regine di Donizetti sale oggi sul palcoscenico per incarnare una delle figure più potenti di quel medesimo universo teatrale: Elisabetta I, la rivale implacabile della regina scozzese.

Il destino teatrale vuole inoltre che questa Elisabetta si trovi di fronte a una delle più grandi star liriche della nostra epoca. Nadine Sierra, amatissima dal pubblico internazionale per la luminosità della sua voce e la raffinatezza del suo stile, affronterà per la prima volta il ruolo di Maria Stuarda. Il suo debutto è atteso con enorme interesse perché questo personaggio rappresenta uno dei vertici drammatici del repertorio belcantistico.

La prima rappresentazione, prevista per il 20 dicembre 2026 al Nationaltheater di Monaco, promette quindi di essere una serata di straordinaria intensità artistica. Non soltanto per il debutto di Nadine Sierra nel ruolo, ma anche per questo affascinante incontro tra generazioni e tradizioni del belcanto.

Due regine sul palcoscenico: da una parte la Maria di Sierra, luminosa e tragica; dall’altra l’Elisabetta di Bartoli, erede di una grande tradizione lirica.

L’importanza dell’evento è tale che la serata sarà trasmessa in diretta radiofonica dalla storica emittente BR-Klassik, permettendo agli appassionati di tutta Europa di ascoltare questo momento speciale della vita musicale.

È inevitabile pensare che la storia della lirica sia fatta proprio di queste serate imprevedibili, cariche di memoria e di emozione. Nel 1982 una giovane Cecilia Gasdia conquistò la Scala sostituendo Caballé in una Anna Bolena destinata a diventare leggendaria.

Oggi, più di quarant’anni dopo, la figlia Anastasia sale su uno dei palcoscenici più prestigiosi d’Europa per affrontare un’altra regina di Donizetti.

E accanto a lei, nel ruolo della sfortunata Maria Stuarda, debutta una delle più brillanti soprano del nostro tempo.

Per questo molti appassionati sono convinti che la sera del 20 dicembre 2026 possa diventare, a sua volta, una nuova pagina memorabile nella storia dell’opera. Una notte in cui passato e presente della grande tradizione belcantistica si incontrano — e in cui due regine, nella musica di Donizetti, torneranno a sfidarsi davanti al mondo. L'incontro sul palcoscenico tra Nadine Sierra e Anastasia Bartoli per Maria Stuarda è senza dubbio uno dei momenti operistici più memorabili dell'anno. 

L'annonce des débuts de Nadine Sierra dans le rôle de Maria Stuarda à l'Opéra d'État de Bavière à Munich a suscité un enthousiasme extraordinaire dans le monde lyrique. Il ne s'agit pas simplement de l'ajout d'un nouveau rôle au répertoire d'une soprano de renom, mais d'un événement symbolique : l'entrée d'une grande cantatrice de notre temps dans l'un des rôles les plus nobles, les plus exigeants et les plus légendaires du bel canto. Pour de nombreuses sopranos, Maria Stuarda représente une véritable épreuve artistique, un rôle qui requiert non seulement une beauté vocale et une maîtrise technique exceptionnelles, mais aussi une grandeur dramatique, une noblesse stylistique et une intensité émotionnelle qui transcende le simple registre musical.

L'opéra de Gaetano Donizetti, inspiré du drame de Schiller, relate l'histoire tragique du conflit entre deux reines : Marie Stuart, reine d'Écosse, et sa cousine et rivale, Élisabeth Ire d'Angleterre. Au cœur de l'opéra se trouve la figure de Maria, dont l'évolution dramatique est saisissante : de la dignité blessée à l'explosion de fierté lors de la célèbre scène de confrontation – culminant dans l'insulte devenue culte « Figlia impura di Bolena ! » – et enfin à la sereine transcendance spirituelle de la scène finale avant son exécution. Cette évolution exige de la soprano une maîtrise absolue du phrasé bel canto, un registre médium solide, une agilité dans l'ornementation et, surtout, la capacité de transformer la musique en une véritable tragédie humaine.

À travers l'histoire de l'opéra, certaines des plus grandes sopranos ont marqué ce rôle de leur empreinte indélébile, offrant des soirées mémorables qui résonnent encore dans la mémoire des mélomanes.

Montserrat Caballé a livré une interprétation d'une beauté sublime. Sa Maria Stuarda était l'incarnation même de la beauté vocale. Son legato infini, sa capacité à soutenir des phrases incroyablement longues avec un souffle apparemment inépuisable et ses pianissimos suspendus dans les airs conféraient au personnage une dimension presque mystique. Dans son interprétation, la reine d'Écosse semblait transcender les drames humains pour atteindre une noblesse quasi spirituelle.

Joan Sutherland, quant à elle, a conféré au rôle une monumentalité vocale impressionnante. Son instrument extraordinairement ample et flexible rendait les difficultés techniques de la partition d'une facilité déconcertante. Sa Maria Stuarda possédait une majesté sonore unique, d'une agilité surprenante pour une voix d'une telle puissance. Grâce à elle, la musique de Donizetti acquérait une dimension presque architecturale.

Beverly Sills incarnait une Maria Stuarda différente, plus théâtrale et viscérale. Interprète profondément investie dans le drame, elle était capable d'électriser le public lors de la scène de confrontation avec une intensité presque incandescente. Sa performance se caractérisait par une utilisation très expressive du texte et un engagement dramatique qui transformait chaque représentation en une expérience vibrante.

Shirley Verrett a apporté une intensité dramatique singulière au personnage. Avec sa voix sombre, riche et puissante, elle a conféré à Marie une dignité tragique et imposante. Son approche a mis en lumière le conflit psychologique et politique entre les deux reines, créant un portrait d'une grande profondeur émotionnelle.

Edita Gruberová, vénérée à Munich pendant des décennies, fut sans doute l'une des plus grandes reines de Donizetti de la fin du XXe et du début du XXIe siècle. Sa maîtrise absolue du bel canto lui permettait d'atteindre une virtuosité vocale d'une précision stupéfiante, tout en conservant une ligne vocale élégante et expressive. Ses prestations à l'Opéra d'État de Bavière devinrent légendaires pour le public munichois, qui développa avec elle une relation artistique très particulière.

Plus récemment, Joyce DiDonato a offert une interprétation profondément humaine et émouvante du rôle. Son approche se caractérise par une grande intelligence musicale et dramatique, explorant en détail chaque nuance psychologique du personnage et conférant une intensité bouleversante à la scène finale.

C'est précisément dans ce contexte historique – imprégné du souvenir de tant d'interprétations mythiques – que les débuts très attendus de Nadine Sierra prennent une signification particulière. Reconnue pour l'extraordinaire beauté de son timbre, la pureté de sa ligne vocale et sa musicalité raffinée, Sierra s'est imposée ces dernières années comme l'une des sopranos les plus remarquables de sa génération. Son succès dans des rôles tels que Lucia di Lammermoor, Gilda et Violetta a démontré une rare combinaison de virtuosité technique et de sensibilité interprétative.

Cependant, Maria Stuarda représente un nouveau territoire dans son évolution artistique. Ce rôle exige une voix plus puissante, une projection dramatique plus incisive et la capacité de traduire à la fois l'autorité et la vulnérabilité. Public et critiques attendent avec impatience de voir comment sa voix, si lumineuse et flexible, s'adaptera aux exigences plus denses et dramatiques de cette partition.

Le fait que ces débuts aient lieu à Munich confère une dimension symbolique toute particulière. L'Opéra d'État de Bavière est depuis des décennies l'un des temples du bel canto moderne et la scène où Edita Gruberová a régné de façon quasi légendaire. Y interpréter un rôle aussi emblématique, c'est en quelque sorte relever le défi d'une tradition interprétative des plus prestigieuses.

Pour toutes ces raisons, les débuts de Nadine Sierra dans le rôle de Maria Stuarda ne sont pas simplement une nouvelle production dans la saison lyrique : ils marquent un tournant dans la carrière de sa chanteuse. Une nouvelle interprète s'apprête à incarner un rôle qui a consacré certaines des plus grandes figures de l'opéra.

Les mélomanes attendent avec impatience de découvrir la vision que Sierra apportera à cette reine tragique : mettra-t-elle en lumière la pureté lyrique du personnage, son orgueil indomptable ou sa dimension spirituelle dans la scène finale ? Ce qui est certain, c'est que cette interprétation marquera un tournant dans sa carrière et, très probablement, lui ouvrira la voie à d'autres grands rôles du répertoire de Donizetti.

L'histoire de Maria Stuarda est jalonnée de soirées légendaires. Le monde lyrique retient son souffle, impatient de voir si, à Munich, une nouvelle page mémorable s'écrira dans cette longue tradition.

La noticia del debut de Nadine Sierra como Maria Stuarda en la Bayerische Staatsoper de Múnich ha despertado una expectación extraordinaria en el mundo de la ópera. No se trata simplemente de la incorporación de un nuevo rol al repertorio de una soprano célebre, sino de un acontecimiento simbólico: la entrada de una gran cantante de nuestra época en uno de los papeles más nobles, exigentes y legendarios del bel canto. Maria Stuarda es, para muchas sopranos, una auténtica prueba de fuego artística, un rol que exige no solo belleza vocal y dominio técnico, sino también grandeza dramática, nobleza de estilo y una intensidad emocional que trascienda lo puramente musical.

La ópera de Gaetano Donizetti, basada en el drama de Schiller, narra el trágico enfrentamiento entre dos reinas: María Estuardo, reina de Escocia, y su prima y rival Isabel I de Inglaterra. En el centro de la obra se encuentra la figura de María, que atraviesa un arco dramático impresionante: desde la dignidad herida hasta la explosión de orgullo en la famosa escena de la confrontación —culminada con el célebre insulto “Figlia impura di Bolena!”— y finalmente la serena trascendencia espiritual de la escena final antes de su ejecución. Esta evolución exige a la soprano un control absoluto del fraseo belcantista, un registro central sólido, agilidad en los ornamentos y, sobre todo, una capacidad para convertir la música en verdadera tragedia humana.

A lo largo de la historia de la interpretación operística, algunas de las más grandes sopranos han dejado su huella imborrable en este papel, creando noches memorables que aún resuenan en la memoria de los aficionados.

Montserrat Caballé ofreció una de las interpretaciones más sublimes jamás escuchadas. Su Maria Stuarda era la encarnación misma de la belleza vocal. Su legato infinito, su capacidad para sostener frases larguísimas con un fiato aparentemente inagotable y sus pianissimi suspendidos en el aire conferían al personaje una dimensión casi mística. En su interpretación, la reina escocesa parecía elevarse por encima del drama humano para alcanzar una nobleza casi espiritual.

Joan Sutherland, por su parte, aportaba al rol una monumentalidad vocal impresionante. Su instrumento extraordinariamente amplio y flexible convertía las dificultades técnicas de la partitura en algo aparentemente sencillo. Su Maria Stuarda poseía una majestuosidad sonora única, con una agilidad sorprendente para una voz de semejante tamaño. Con ella, la música de Donizetti adquiría una dimensión casi arquitectónica.

Beverly Sills encarnó una Maria Stuarda diferente, más teatral y visceral. Fue una intérprete profundamente comprometida con el drama, capaz de electrizar al público en la escena de la confrontación con una intensidad casi incendiaria. Su interpretación se caracterizaba por un uso muy expresivo del texto y por una entrega dramática que convertía cada función en una experiencia vibrante.

Shirley Verrett aportó al personaje una intensidad dramática singular. Con su voz oscura, rica y poderosa, dotó a María de una dignidad trágica imponente. Su aproximación subrayaba el conflicto psicológico y político entre las dos reinas, creando un retrato de gran profundidad emocional.

Edita Gruberová, especialmente venerada en Múnich durante décadas, fue quizá una de las grandes reinas donizettianas de finales del siglo XX y comienzos del XXI. Su dominio absoluto de la técnica belcantista le permitía realizar filigranas vocales de una precisión asombrosa, al tiempo que mantenía una línea de canto elegante y expresiva. Sus interpretaciones en la Bayerische Staatsoper se convirtieron en auténticas leyendas para el público muniqués, que desarrolló con ella una relación artística muy especial.

En tiempos más recientes, Joyce DiDonato ha ofrecido una lectura profundamente humana y emocional del papel. Su enfoque se caracteriza por una gran inteligencia musical y dramática, explorando con detalle cada matiz psicológico del personaje y aportando una intensidad conmovedora a la escena final.

Es precisamente en este contexto histórico —rodeado por la memoria de tantas interpretaciones míticas— donde adquiere especial significado el esperado debut de Nadine Sierra. Conocida por la extraordinaria belleza de su timbre, la pureza de su línea de canto y su musicalidad refinada, Sierra se ha consolidado en los últimos años como una de las sopranos más destacadas de su generación. Su éxito en papeles como Lucia di Lammermoor, Gilda o Violetta ha demostrado una combinación poco común de virtuosismo técnico y sensibilidad interpretativa.

Sin embargo, Maria Stuarda representa un nuevo territorio en su evolución artística. Este papel exige un centro vocal más robusto, una proyección dramática más incisiva y una capacidad para transmitir autoridad y vulnerabilidad al mismo tiempo. El público y la crítica esperan con enorme interés comprobar cómo su voz —tan luminosa y flexible— se adapta a las exigencias más densas y dramáticas de esta partitura.

El hecho de que este debut tenga lugar en Múnich añade un componente simbólico muy especial. La Bayerische Staatsoper ha sido durante décadas uno de los templos del bel canto moderno y el escenario donde Edita Gruberová reinó de manera casi legendaria. Presentarse allí en un papel tan emblemático equivale, en cierto modo, a aceptar el desafío de una tradición interpretativa de altísimo nivel.

Por todo ello, el debut de Nadine Sierra como Maria Stuarda no es simplemente una nueva producción en la temporada operística: es un momento de transición generacional. Una nueva intérprete se acerca a un papel que ha consagrado a algunas de las mayores figuras de la lírica.

Los aficionados esperan con entusiasmo descubrir qué visión aportará Sierra a esta reina trágica: si destacará la pureza lírica del personaje, su orgullo indomable o su dimensión espiritual en la escena final. Lo que parece seguro es que esta interpretación marcará un capítulo importante en su carrera y, muy probablemente, abrirá el camino hacia otros grandes papeles del repertorio donizettiano.

La historia de Maria Stuarda está llena de noches legendarias. Ahora, el mundo de la ópera aguarda con emoción para saber si, en Múnich, se escribirá una nueva página memorable en esa larga tradición.

The announcement that Nadine Sierra will make her long-awaited debut as Mary, Queen of Scots in Maria Stuarda at the Bayerische Staatsoper has created a wave of excitement throughout the operatic world. For admirers of bel canto, this is far more than the addition of a new role to the repertoire of a celebrated soprano. It represents a significant artistic milestone: the moment when one of the leading lyric voices of our time steps into one of the most noble and demanding roles in the entire Donizettian canon.

The role of Mary Stuart is among the great dramatic portraits in nineteenth-century Italian opera. Written by Gaetano Donizetti and based on the famous tragedy by Friedrich Schiller, the opera presents the legendary conflict between Mary, Queen of Scots and her formidable cousin Elizabeth I. Within this historical framework, Donizetti created one of the most compelling soprano roles of the bel canto era. Maria moves through a vast emotional arc: the wounded dignity of a captive queen, the blazing fury of the famous confrontation with Elizabeth, and finally the serene transcendence of the prayer before her execution. Few roles demand such a synthesis of vocal beauty, technical finesse, and tragic grandeur.

For this reason, Maria Stuarda has long been associated with some of the greatest sopranos in operatic history. Each generation has produced its own unforgettable interpreter, and the role has become something of a rite of passage for singers who aspire to the highest rank in bel canto repertoire.

Among these legendary figures, the name of Beverly Sills shines with particular brilliance. For many opera lovers, Sills remains the definitive queen of Donizetti’s Tudor world. In the late 1960s and early 1970s she undertook an extraordinary artistic project: recording the three operas now known collectively as the “Tudor trilogy” — Anna Bolena, Maria Stuarda, and Roberto Devereux. Although Donizetti himself never conceived these works as a formal trilogy, the thematic link of the Tudor court and the presence of Elizabeth I created a dramatic and musical thread that later performers and audiences embraced.

Sills’s recordings of these operas, made in London at the beginning of the 1970s, remain a landmark in the history of recorded opera. Her achievement was extraordinary not merely because she sang all three queens, but because she created three distinct dramatic personalities. Her Anna Bolena was noble and tragic, a queen slowly descending into heartbreak and madness. Her Elisabetta in Roberto Devereux was a psychologically complex portrait of aging power, a monarch confronting loneliness and the passage of time. But it is perhaps her Maria Stuarda that has left the most enduring impression.

Sills possessed a voice that was not enormous, but it was flexible, brilliant, and capable of astonishing expressive nuance. More importantly, she brought to the role a rare dramatic intelligence. In the famous confrontation scene — culminating in the explosive insult “Figlia impura di Bolena!” — Sills delivered the text with searing theatrical intensity. Her voice seemed to ignite with fury, transforming the musical line into pure drama. Yet in the final scene of the opera she revealed another side of the character: a fragile, luminous serenity as Mary prepares for death. Few singers have captured so completely both the human vulnerability and the royal dignity of the doomed queen.

The influence of Sills’s interpretation cannot be overstated. For many listeners, her recording remains the benchmark against which all others are measured. Even today, more than half a century later, it continues to be cited as the most complete recorded realization of Donizetti’s Tudor heroines.

Of course, other extraordinary sopranos have also left indelible marks on the role. Montserrat Caballé brought to Maria Stuarda an incomparable beauty of tone and an almost miraculous control of legato. Her interpretation elevated the character to a realm of lyrical nobility, particularly in the final prayer, where her floating pianissimi seemed to suspend time itself.

Joan Sutherland approached the role from a different perspective, offering a vast, radiant instrument capable of navigating Donizetti’s formidable vocal writing with astonishing ease. Her Maria Stuarda possessed a monumental vocal authority that few singers could match.

And in the later decades of the twentieth century, Edita Gruberová became one of the great reigning queens of this repertoire, especially at the Bayerische Staatsoper. Her performances in Munich became legendary for their technical precision, dazzling coloratura, and hypnotic pianissimi. For the Munich audience in particular, her Maria Stuarda set an exceptionally high standard that any new interpreter inevitably confronts.

It is precisely within this illustrious lineage that Nadine Sierra now steps forward. Known for the luminous beauty of her voice, her immaculate technique, and her vibrant stage presence, she has already established herself as one of the most beloved sopranos of her generation. Yet Maria Stuarda represents a new stage in her artistic evolution. The role demands not only agility and elegance but also vocal weight in the middle register and the dramatic authority required to embody a queen standing face to face with her rival.

Opera lovers therefore await this debut with enormous anticipation. Sierra possesses many of the qualities that defined the great interpreters of the past: the vocal brilliance associated with Gruberová, the lyrical refinement reminiscent of Caballé, and the dramatic instinct that made Sills such a compelling artist. Whether she will ultimately forge a new and distinctive interpretation of Mary Stuart remains to be seen — but the potential is undeniably there.

In opera, certain roles carry the weight of history. Maria Stuarda is one of them. Across generations, extraordinary singers have brought this tragic queen to life, each leaving behind unforgettable performances that enrich the collective memory of the art form.

Now a new chapter begins. With her debut in Munich, Nadine Sierra joins this remarkable lineage. And as audiences gather to hear her first interpretation of Donizetti’s doomed queen, they do so with the thrilling awareness that another memorable page in the long history of Maria Stuarda may soon be written.