Despite its promise, in the end English National Opera's new Mary Stuart deserves only modified rapture. There is an able and well-qualified cast, plus a respectable account of the score from Jean-Yves Ossonce, but these are not enough to compensate for that inexorable tragic fervour which should drive the work to an almost unbearably moving close.
This is Ann Murray's first Donizetti role, and she handles it with customary distinction. Her voice is skilfully modulated to the "suave melancholy" of the music and her dramatic personality as ever, vibrant and forceful - which inevitably makes the fictitious confrontation between the two queens the climax of the performance. Thereafter, despite some exquisite singing including pianissimi of extraordinary clarity and beauty, her confession and progress to the scaffold convey little of the profound pathos inherent in the situation.
Susan Parry is a competent Elizabeth I, John Hudson a stalwart if unsubtle Leicester, and Gwynne Howell a lovable and strongly-sung Talbot. Gale Edward's production, which opens with a spectacular display of acrobatics, is forthright and serviceable, and it is staunchly supported by spare, handsome sets from Peter J. Davison and by gorgeous costumes from the fashion designer, Jasper Conran.