Maria Padilla

Donizetti's opera Maria Padilla is unknown to even the most frequent opera-goers and it made a strong vehicle for soprano Barbara Quintiliani in the OperaBoston production.

A Bel Canto rarity was Opera Boston's work of choice to close its current season. And Donizetti's opera "Maria Padilla" is unknown to even the most frequent opera-goers. Music collectors who fancy the genre may be familiar with the work through the complete Opera Rara compact disc recording, or the decent 1973 pirate that was issued on both LP and CD. Apparently, another live recording with diva Renee Fleming is afloat. On her best-selling Bel Canto recital, Fleming also commercially recorded arias from the opera, which is how most listeners may have been exposed to this lovely, tuneful composition.

Despite the quality of the music--and, lets face it, there are few misses among Donizetti's 75 operas--the work is seldom revived. The last major production was at Ireland's Wexford Festival in 2009. In it, the title role was sung by Quincy-born dramatic soprano Barbara Quintiliani; and our hometown girl made good, garnering critical raves for her portrayal. Supported by an excellent cast, she recreated the role this past weekend with Opera Boston, displaying fiery, dramatic intensity, as well as her characteristic tonal opulence.

Donizetti's "Maria Padilla" is in the manner of the composer's well-known "La Favorita," The opera revolves around the title character, the secret lover of the King of Castile. Unlike "Favorita"'s Leonora, Maria is smart enough to make it legal, and get it all down in black-and white. However, her marriage contract with Don Pedro does not appease here volatile father, who is infuriated by what he perceives as merely a regal dalliance. When Maria learns that Pedro is about to honor another obligation, an arranged marriage to the Bourbon princess, Bianca, she takes matters-and the crown itself---into her own hands. Amid flourishes of dramatic vocal declamation, she asserts her queenly rights, and plunks herself firmly on the throne-- only to die instantly of joy.
Originally, Donizetti had Maria actually snatch the crown from Bianca's head, then commit suicide. Apparently, in 1841, such bold behavior was considered too inflammatory by the censors of La Scala, where the opera was premiered in 1841.

Musically, "Maria Padilla" improves as it progresses. Act 1 contains some infectiously catchy cabalettas, and a fine duet featuring Maria and Pedro. Another extensive duo, between Maria and her loyal sister, Ines, is the highlight of the second act. Yet the substantial final act contains the finest music of the opera. The melancholy opening pages culminate in a superb trio, sung entirely sotto voce. This is followed immediately by an extended duet in which Maria begs her father's forgiveness for her indiscretion, presenting the marriage contract as evidence of her innocence. It is not unreasonable to imagine that Verdi had this sort of ensemble in mind when he created some of his memorable father / daughter duets. A bravura aria for Don Pedro leads to the opera's exciting finale.

Opera Boston's production served the work nicely. The single, Gothic-inspired set was bare-boned, but adapted well to the various scenes of the opera. The spare, stage settings were adorned by the splendid costumes, which were colorful and rich in period detail of the 14th century, in which the action was supposed to transpire. The stage direction was unexceptional, but for the most part, effective; although it is highly unlikely that a Medieval noblewoman would actually kick her rival's bridal bouquet across a room! (Quintiliani scored a veritable goal with her soccer kick on Sunday afternoon.)

No stranger to the idiom, conductor Gil Rose led the performance with vigor and precision, and the chorus and orchestra responded well to his able direction. Yet the principal asset of this "Maria Padilla" was decidedly the solo singing.

With his voluminous, resonant bass-baritone voice, DongWon Kim sang with complete security as the King, Don Pedro. His impressive vocal instrument is scaled to a theatre much larger than the Cutler Majestic. His sense of line and phrasing made for an overall excellent portrayal of the role.

Casting his opera against type, Donizetti scored the role of Don Ruiz, Maria's father, for a tenor rather a bass, the standard 19th choice for a paternal role. Adriano Graziani was wonderful in the part. He has a ringing, heroic, tenor sound, and performed with accuracy and assurance. Another tenor, more familiar to Opera Boston audiences, is Yeghishe Manucharyan. The unfortunately small role of Don Luigi, Maria's brother-in-law, found him in superb voice.

Laura Vlasak Nolen appeared as Ines, and was altogether terrific. Her sultry, mezzo-soprano has a lovely, rich timbre, and she used it with fine musicianship.

Plagued by intonation problems in her opening aria, Quintiliani was back on track by the second act, where she excelled in the Maria/Ines duet. And by the final act, her huge, creamy soprano voice was in high gear. Her singing was more nuanced than ever before, and she used many pianissimi to great effect. In interviews, she had stated that Maria Padilla was among the most taxing roles she had ever undertaken; and it was obvious that she was fully committed to the music, and threw herself completely into the part. During the curtain calls, she received an enthusiastic standing ovation for her efforts.

In its newly announced 2011-12 season, Opera Boston continues its tradition of creative programming. Two sublimely beautiful, Shakespeare-inspired works will be staged, Bellini's "I Capuleti ed i Montecchi" and the "Beatrice et Benedict" of Hector Berlioz. The roster also includes the New England premiere of Michael Tippett's "The Midsummer Marriage." For ticket and subscription information, visit the OperaBoston website.