ENO Mary, Queen of Scots February 2025 @Alastair Muir
On Saturday, 15th February 2025, the English National Opera (ENO) presented Thea Musgrave's Mary, Queen of Scots at the London Coliseum, marking a significant moment as the 96-year-old composer's work graced a major London stage for the first time. Originally premiered in 1977 by Scottish Opera, Musgrave's composition delves into the turbulent life of Mary Stuart, capturing the political and personal upheavals of her reign.
Under the baton of Joana Carneiro, the ENO Orchestra delivered Musgrave's intense and evocative score with precision. The music oscillated between frenetic climaxes and serene interludes, effectively mirroring Mary's isolation and the relentless ambition of those around her. Notably, the orchestration featured growling low brass and ominous drumbeats, creating an atmosphere thick with tension. Carneiro's direction ensured that the orchestra's performance was both compelling and cohesive, providing a robust foundation for the vocalists.
Outstanding soprano Heidi Stober's portrayal of Mary was both powerful and nuanced. Her vocal prowess shone through demanding passages, and she adeptly conveyed the queen's vulnerability amidst political machinations. Stober's performance was complemented by a strong supporting cast: Alex Otterburn as James Stewart, Rupert Charlesworth as Henry Stuart (Lord Darnley), and John Findon as James Hepburn (Earl of Bothwell) each brought depth to their roles, highlighting the complex interplay of loyalty and betrayal that defines the narrative.
Director and designer Stewart Laing opted for a modern-dress production, featuring characters in contemporary attire, including puffer jackets and woolly hats. The minimalist set was dominated by a steel-framed marquee, which was assembled and dismantled throughout the performance. While this abstract staging aimed to draw parallels between historical and modern political strife, it received mixed reactions. Some critics felt that the lack of historical context and sparse visuals detracted from the opera's dramatic impact.
Despite these staging choices, the production's musical strengths were undeniable. The ENO Chorus delivered with vigour, and the orchestra's dynamic range captured the emotional essence of Musgrave's composition. The performance successfully conveyed the relentless tension and passion inherent in Mary's story, offering audiences a poignant reflection on power, treachery, and resilience.
In conclusion, ENO's rendition of Mary, Queen of Scots stood out for its exceptional musical execution and compelling performances. While the modernist staging sparked debate, the production as a whole paid fitting tribute to Thea Musgrave's dramatic and intense portrayal of one of history's most enigmatic queens.
David Buchler