Reporting from London
[A note on the historical figure Mary, Queen of Scots: Mary Stewart, the only daughter of James V of the ruling Stewart dynasty, became Queen of Scots at only six days of age. She reigned from 1542 until her forced abdication in 1567. After 19 years as a prisoner of her cousin, Elizabeth I of England, Mary was executed on 8 February 1587. For more information visit the National Museums Scotland website.]
Written in 1977, the opera Mary, Queen of Scots premiered that year at the Edinburgh Festival, under the baton of its composer, Thea Musgrave. At that time Thea’s husband, Peter Mark, was the conductor of the Virginia Opera, whose board included Walter Chrysler (of the automotive family.) Chrysler’s wife Jean, a major opera lover and also on the Virginia Opera board, traveled with a group of board members to Edinburgh. After they heard the opera, they decided to bring it to Virginia, a daring idea because of the opera’s contemporary music. Peter wondered whether audiences in Virginia were ready to hear a new work from a new opera company after just two seasons of popular older operas. Jean Chrysler held her ground and said “if it was good enough for the Edinburgh Festival, it should be good enough for Norfolk!!” Case closed!
Excerpt from the opening of Mary Queen of Scots.
The American premiere was in 1978, conducted by Peter. New York City Opera performed Mary in 1981, conducted by Peter. Thea subsequently conducted the work during Spring Opera in San Francisco. Thea said, “Peter took care of the East Coast, and I, the West Coast.”
I traveled to London this winter with Peter and Thea, my longtime friends, to hear two performances by the English National Opera (ENO).
I traveled to London this winter with Peter and Thea, my longtime friends, to hear two performances by the English National Opera (ENO).
London Journal
Monday 2/9: JFK 10:15 a.m. departure
Waiting at the gate, Thea is recognized by a traveler who is going to London to see her opera, Mary, Queen of Scots.
We arrive at our London hotel at 11:30 p.m. Thea and her husband, Peter Mark, are given a room with a queen-size bed. Thea, 96 years old, falls out of bed in the middle of the night, injures her foot, and has difficulty walking.
Tuesday 2/10: Peter requests a room with a king-size bed and we pack and relocate them to a stunning corner room with floor-to-ceiling glass windows and spectacular views of the opera house and the Lord Nelson statue in the center of Trafalgar Square.
Six hours of rehearsal: 2 to 5 p.m and 6:30 to 9:30.
The production is a semi-staged version, which means there is no scenery. Since the production is set in modern day, the performers sing their parts dressed in modern clothing, which may remind the audience of contemporary political strife including rumors, rage, treachery, murders, and war.
The singers are fabulous! The conductor is a young Portuguese woman, Joana Carneiro. We are introduced to so many people we cannot remember their names or roles.
Thea is thrilled with the rehearsals and makes a few suggestions. For example, in a scene of a raucous party Thea quotes a Scottish tune. The chorus sings English style: smoothly and elegantly. Thea, who is Scottish, means it to be sung with spiky phrasing.
During the break, a member of the orchestra approaches to tell us she has friends coming to the performance who played in the premiere in Edinburgh. We go to the canteen downstairs for a snack. I go out the stage door exit to find dessert. At this hour, the small streets look like a movie set.
I meet the longtime chorus master. He tells me he has championed this opera at the ENO for years because he thinks it’s a gem and a neglected work.
The music is thrilling. The orchestration is sumptuous, while at times it can also be intimate. For example, when Mary realizes she has lost the support of her people and is alone onstage, she sings a lullaby to her newborn son, who will someday be king, about what she, a queen, needs to teach him about ruling the nation. This is a breakthrough moment in opera: a mother singing to her child on an empty stage! The theme of Mary holding power and being alone runs through the opera. Only a woman could have written this moment:
Monday 2/9: JFK 10:15 a.m. departure
Waiting at the gate, Thea is recognized by a traveler who is going to London to see her opera, Mary, Queen of Scots.
We arrive at our London hotel at 11:30 p.m. Thea and her husband, Peter Mark, are given a room with a queen-size bed. Thea, 96 years old, falls out of bed in the middle of the night, injures her foot, and has difficulty walking.
Tuesday 2/10: Peter requests a room with a king-size bed and we pack and relocate them to a stunning corner room with floor-to-ceiling glass windows and spectacular views of the opera house and the Lord Nelson statue in the center of Trafalgar Square.
Six hours of rehearsal: 2 to 5 p.m and 6:30 to 9:30.
The production is a semi-staged version, which means there is no scenery. Since the production is set in modern day, the performers sing their parts dressed in modern clothing, which may remind the audience of contemporary political strife including rumors, rage, treachery, murders, and war.
The singers are fabulous! The conductor is a young Portuguese woman, Joana Carneiro. We are introduced to so many people we cannot remember their names or roles.
Thea is thrilled with the rehearsals and makes a few suggestions. For example, in a scene of a raucous party Thea quotes a Scottish tune. The chorus sings English style: smoothly and elegantly. Thea, who is Scottish, means it to be sung with spiky phrasing.
During the break, a member of the orchestra approaches to tell us she has friends coming to the performance who played in the premiere in Edinburgh. We go to the canteen downstairs for a snack. I go out the stage door exit to find dessert. At this hour, the small streets look like a movie set.
I meet the longtime chorus master. He tells me he has championed this opera at the ENO for years because he thinks it’s a gem and a neglected work.
The music is thrilling. The orchestration is sumptuous, while at times it can also be intimate. For example, when Mary realizes she has lost the support of her people and is alone onstage, she sings a lullaby to her newborn son, who will someday be king, about what she, a queen, needs to teach him about ruling the nation. This is a breakthrough moment in opera: a mother singing to her child on an empty stage! The theme of Mary holding power and being alone runs through the opera. Only a woman could have written this moment:
Performance at the House of Lords of the lullaby for the infant James sung by the nanny, Monica McGhee, and Mary, Jenny Stafford.
Wednesday 2/11: Thea meets with her publisher about a commission from the BBC she has recently completed, to be recorded in March: In Memoriam, marking Queen Elizabeth’s death in 2022.
Thursday 2/12: Reception at the House of Lords. We are brought in through a private entrance with heavy security.
Peter, Thea, and the author taxiing to the House of Lords reception.
Walking through the halls of the building, with its ornate carvings and ceilings, we pass through a room that features paintings of Mary, Queen of Scots and Lord Darnley, her cousin and second husband.
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Portraits in the House of Lords.
The House of Lords is in session as we pass and continue to the River Room for the reception.
During the reception, we hear live performances of two of Thea’s compositions—including the lullaby Mary sings to her infant child in the opera. Thea talks about her process. She always writes her own libretto. When she thinks of a beautiful melody, she doesn’t want to call the librettist to change the words to fit the melody. This way she can add or take out a syllable to fit the melody. When Thea is asked about studying with Nadia Boulanger, she recounts a lesson during which she was rushing to finish a score and added a note in haste. Madam Boulanger carefully looked through the score. “What’s that note doing there? It doesn’t belong.”
Drinks and snacks are served to the lords, friends, and opera lovers attending the reception.
Friday 2/14: Thea has four interviews with press.
Saturday 2/15: BBC airs its interview. Opening night of the opera—which is sold out and a huge success! There is a post-performance reception featuring speeches and conversations with friends and cast; there’s an outpouring of superlatives:
During the reception, we hear live performances of two of Thea’s compositions—including the lullaby Mary sings to her infant child in the opera. Thea talks about her process. She always writes her own libretto. When she thinks of a beautiful melody, she doesn’t want to call the librettist to change the words to fit the melody. This way she can add or take out a syllable to fit the melody. When Thea is asked about studying with Nadia Boulanger, she recounts a lesson during which she was rushing to finish a score and added a note in haste. Madam Boulanger carefully looked through the score. “What’s that note doing there? It doesn’t belong.”
Drinks and snacks are served to the lords, friends, and opera lovers attending the reception.
Friday 2/14: Thea has four interviews with press.
Saturday 2/15: BBC airs its interview. Opening night of the opera—which is sold out and a huge success! There is a post-performance reception featuring speeches and conversations with friends and cast; there’s an outpouring of superlatives:
Thea’s curtain call for a standing ovation by audience and performers.
Thea thanks everyone with one word: WOW!
Historical fact: James Stewart, Mary, Queen of Scots’ half-brother and successor to the throne, was the first head of government to be assassinated with a gun, in 1570.
Sunday 2/16: Thea’s husband Peter takes the twelve American friends who traveled from New York City to an Indian lunch in Brick Lane, famous for Indian food.
Monday 2/17: Breakfast with Thea and Peter. Reviews are in!
The Guardian: “It is sung and acted with blazing conviction by English National Opera.”
The Times: “Doing Thea Musgrave’s epic opera proud… ENO staging may be a bit strange but the wonderfully atmospheric music carries the show.”
Bachtrack.com: “Musgrave’s music drives the action with constant tension, but also with remarkable flashes of orchestral colour.”
Tuesday 2/18: Thea has two visitors: Nicholas Daniel, well known oboist and great friend who introduced her to the young bassoonist Amy Harman for whom she is writing a bassoon concerto; and Amy, who is there to discuss the piece Thea is composing for her. Thea feels strongly about working with the instrumentalist whenever she is commissioned to write a new work. She wants to be sure the music is within the range of the instrument and is comfortable for the player. “It’s not possible for one person to know the full capabilities of each instrument in the orchestra,” says Thea. She has established a commission at Juilliard for an instrumentalist to collaborate with a composer. And she has had the experience that a player will tell her years later that something was close to impossible to play. Thea’s response: “What the fuck? Why didn’t you tell me sooner?”
Sunday 2/16: Thea’s husband Peter takes the twelve American friends who traveled from New York City to an Indian lunch in Brick Lane, famous for Indian food.
Monday 2/17: Breakfast with Thea and Peter. Reviews are in!
The Guardian: “It is sung and acted with blazing conviction by English National Opera.”
The Times: “Doing Thea Musgrave’s epic opera proud… ENO staging may be a bit strange but the wonderfully atmospheric music carries the show.”
Bachtrack.com: “Musgrave’s music drives the action with constant tension, but also with remarkable flashes of orchestral colour.”
Tuesday 2/18: Thea has two visitors: Nicholas Daniel, well known oboist and great friend who introduced her to the young bassoonist Amy Harman for whom she is writing a bassoon concerto; and Amy, who is there to discuss the piece Thea is composing for her. Thea feels strongly about working with the instrumentalist whenever she is commissioned to write a new work. She wants to be sure the music is within the range of the instrument and is comfortable for the player. “It’s not possible for one person to know the full capabilities of each instrument in the orchestra,” says Thea. She has established a commission at Juilliard for an instrumentalist to collaborate with a composer. And she has had the experience that a player will tell her years later that something was close to impossible to play. Thea’s response: “What the fuck? Why didn’t you tell me sooner?”
Thea, Amy Harman, and Nicholas Daniel.
Final performance of Mary. Before the first performance, there was little rehearsal time (most performing institutions are short on funding). This performance is smoother; everyone is more comfortable with their roles. I am sitting in the family circle rather than the first row where I sat opening night. The sound of the singers is richer upstairs, taking on the glow of the acoustics in the hall. My seatmate has the libretto; I offer to get Thea’s signature during intermission. Thea signs it and I return to my seat. My seatmate holds up the libretto to show it off.
After the final performance, the many friends who have come from all over pose with Thea for photographs, including the head of the San Francisco Opera who came specifically to see this production. Mary, Queen of Scots will be performed at the San Francisco opera in 2026. Six performances are scheduled from September 22 to October 2, all sung by the leading American soprano Heidi Stober and directed by the ENO’s Scottish stage director Stewart Laing.
Wednesday 2/19: Home sweet home!
After the final performance, the many friends who have come from all over pose with Thea for photographs, including the head of the San Francisco Opera who came specifically to see this production. Mary, Queen of Scots will be performed at the San Francisco opera in 2026. Six performances are scheduled from September 22 to October 2, all sung by the leading American soprano Heidi Stober and directed by the ENO’s Scottish stage director Stewart Laing.
Wednesday 2/19: Home sweet home!
Deep Ends
by Roberta Schultz
Deep Ends explores the fragile balance between treading life’s turbulent waters and mastering a survival float. A father invents his brand of cross-chest carry to save himself and his grandson from drowning in a “current of light and sound.” A mother tosses her young daughter into the deep end of a public pool in hopes she will learn to swim. A daughter becomes a lifeguard, a teacher inspired by Dolly Parton’s “can-do” attitude, and an empowerment drummer. Family, grief, survival, and climate change are the themes in Roberta Schultz’s second full-length collection.
Available from the publisher.
Gena Raps, Persimmon Tree Music Editor, has performed internationally and across the United States. Her recordings of Mozart, Brahms, and Dvorak can be found on Musical Heritage Society, Arabesque, and Naxos among others. She has taught at the Juilliard School, Sarah Lawrence College, and the Mannes College of Music and has received numerous prizes and honors. She has been on the jury for competitions at the Juilliard School and the Fulbright Fellowship.
Thank you. Where do you live?
What an amazing story! Bravi tutti!!!