Review: MARY, QUEEN OF SCOTS, London Coliseum

And so to the final new production of English National Opera’s season; Mary, Queen of Scots, directed by Stewart Laing and conducted by Joana Carneiro. Scottish composer Thea Musgrave’s opera was last heard in London at Sadler’s Wells back in 1980, after premiering in Edinburgh in 1977, with Musgrave herself conducting. It is only having two performances at the London Coliseum, with further performances planned in San Francisco next year.

Musgrave focuses on Mary’s return to Scotland in 1561 and the events leading to her abdication in 1567. It is Mary’s relationship with various men that leads the narrative; her half-brother James who longs for both power and an implied incestuous relationship with Mary: her playboy second husband Henry Darnley and sexual predator Bothwell, who purports to want to protect her.

Making her ENO debut as Mary, Heidi Stober is on wonderfully lyrical form, showing off some truly accomplished vocals. Her intention, clarity and control on the top notes is very impressive and it would be a treat to see more of her work in the future.

Alex Otterburn is chilling as James Stewart, Rupert Charlesworth is suitably narcissistic as Darnley and Lord Bothwell is a commanding John Findon. 

There is a sharpness to much of the atonal music, with lyrical and gentle elements somewhat lacking. It is atmospheric, but often a little dull, with some of the real drama and jeopardy of Mary’s situation and fight for her son’s position missing some bite. The orchestra creates much of the drama under the careful and precise direction of Joana Carneiro.

In this semi-staged production, director and designer Stuart Laing distractingly takes the production as far away from a period drama as possible. With green municipal railings erected along the front of the stage and a large marquee gradually being put up behind them, there is the air of a village fête gone wrong.

It is curious that James first appears looking more like a door-to-door insurance salesman with a flaccid anorak over his suit and tie. Alistair Miles’ Lord Gordon is constantly weighed down by a huge backpack and the whole ENO chorus (in wonderful voice here) appear in green wellies and walking gear and there are more waterproofs than can be counted. They look more like a rambling group than a society riven by religious and political turmoil.

Stober’s Mary and her ladies-in-waiting get a better deal with an array of high-end athleisure wear and dresses. I suspect much of the production budget went on their Rimowa luggage, which makes a fleeting appearance as they arrive back from France.

Musgrave is now nearly 97 and it is a necessary and valuable thing to ensure that more female composers have their work showcased. Mary, Queen of Scots never quite hits true operatic heights of emotion, but is suitably atmospheric for a dark and wet February night.

Mary, Queen of Scots is at the London Coliseum on 18 February

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