Soprano Yolanda Auyanet stars as Maria Stuarda in Donizetti’s opera opening Friday at the Teatro Campoamor for the Ópera de Oviedo season, delivering the demanding title role alongside the Oviedo Filarmonía under conductor Friedrich Haider and stage director Emilio López.
Essential Facts for the Oviedo Production
- Opening Night: Friday marks the curtain-raising performance of Maria Stuarda, the second title of the Oviedo Opera season.
- Creative Team: Friedrich Haider leads the Oviedo Filarmonía orchestra, while Emilio López directs the stage production.
- Career Milestone: Auyanet marks 33 years in opera, transitioning across her career from lyric-coloratura roles to heavy dramatic parts like Donizetti’s queens.
The Vocal Demands of Donizetti’s Maria Stuarda
Addressing the challenges of the production, Auyanet noted that bel canto performance demands immense endurance. “Con el bel canto siempre son las mismas dificultades: las frases largas, el virtuosismo, el hecho de tener poco donde esconderte, la orquesta es un apoyo pero nunca te cubre… Este es un papel largo y que va creciendo a medida que va adelante la ópera,” she explained, highlighting the relentless progression of the score.
The soprano views the character through the lens of history and survival. She described Maria as a tragic monarch managing a hostile political environment, trapped by difficult romantic choices and a doomed alliance with her cousin Elizabeth. Despite decades of captivity, the character maintains unwavering dignity and a firm belief in her rightful claim to the English crown.
Reuniting with Friedrich Haider and Emilio López
Auyanet praised the musical preparation under Haider, whom she worked with years prior. Describing the conductor as an attentive collaborator, she noted that the orchestra has performed exceptionally well through rapid rehearsals. The staging by López relies on a minimalist, symbolic design paired with period costumes, faithfully mirroring the original production she previously performed in Bilbao.
Reflecting on her return to Asturias, the soprano expressed affection for the city. She characterized the local audience as culturally discerning and demanding, noting that performers must bring their absolute best to the stage.
A Career Defined by Evolution and Repertoire Shift
Having spent over three decades on international stages, including a notable production of Carmen directed by Franco Zeffirelli, Auyanet has continually expanded her vocal range. While her early career centered on Mozart and lyric-coloratura staples like La Traviata and Rigoletto, her focus has shifted toward heavier dramatic territory.
Her current repertoire highlights include Norma, Anna Bolena, Don Carlo, and Tosca. Looking ahead, she is preparing to debut in Benjamin Britten’s Peter Grimes, marking a distinct departure from her usual Italian and French repertoire.
| Production Detail | Participant |
|---|---|
| Opera Title | Maria Stuarda (Gaetano Donizetti) |
| Venue | Teatro Campoamor, Oviedo |
| Musical Direction | Friedrich Haider / Oviedo Filarmonía |
| Stage Direction | Emilio López |
The Current State of Lyric Opera in Spain and Italy
Discussing opera in general, Auyanet observed that lyric theater in Spain maintains a high standard of quality despite persistent structural challenges. She pointed to Italy’s extensive regional network of smaller provincial theaters as a distinct advantage for working singers, noting that Spain boasts a deeply passionate and knowledgeable audience even if the sheer number of active houses is lower.
