Two queens on one island. A recipe for disaster. Especially as both have a legitimate claim to the other's throne. They are, after all, related... So the power politics are the name of the game. And, for reasons of state, one of the heads that wears a crown has to roll. Maria Stuarda was laid to rest for more than a hundred years, finally being revived in 1958 in Bergamo under conductor Oliviero de Fabritiis. However the real breakthrough for the opera finally came with Giorgio de Lullo's Florentine production for the Maggio Musicale in 1967 (with set design and costumes by Pier Luigi Pizzi, director, set designer and costume designer at La Scala in 2008). As the two queens, Leyla Gencer and Shirley Verrett, set the vocal standards. Since then, the triumph of Maria Stuarda has been unstoppable.

A masterpiece of bel canto at the Teatro Real in Madrid: conductor José Miguel Pérez-Sierra and director David McVicar take on Donizetti’s Maria Stuarda, with Lisette Oropesa in the title role.

Maria Stuarda is a searingly dramatic setting of Friedrich Schiller’s play about Mary, Queen of Scots, and her political and personal rivalry with Queen Elizabeth I of England. While based relatively closely on historical characters and events, the opera’s central scene is fictional: the highly emotional meeting of the queens that concludes the first act (originally invented by Schiller) never took place. It’s a dramatic device that brilliantly highlights the two women’s contrasting characters.

Donizetti's opera as film.

Joyce DiDonato gives a sensational performance as Mary, Queen of Scots, in Donizetti’s bel canto drama, opposite Elza van den Heever as Queen Elizabeth. This Live in HD presentation of David McVicar’s acclaimed 2012 production also stars Matthew Polenzani as Leicester, the man caught between the rival queens. Maurizio Benini conducts.

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Glyndebourne has brought to light a long-overlooked winner in Donizetti's Poliuto, delivering a superb musical performance (The Telegraph) offering lucent accounts of the principal roles and an incandescent London Philharmonic Orchestra, under Enrique Mazzola (New York Times). This first-ever professional UK staging of the story of third-century Armenian martyr St Polyeuctus features a trio of world-class young singers with Beverly Sills- and Richard Tucker-award-winning Fabiano displaying a thrilling, vibrant tone in the title role, Martínez providing Paolina with pinging coloratura and Golovatenko giving a radiant-toned voice to Severo (The Guardian )

A young mother called Maria is returning home after a long abscence. Her kids have created their own fantasies as to why their mother has been away for such a long time.

Maria is a very dedicated mother who takes care of her daughter, Elza and her husband, Osvaldo, with love and affection. To do this, Maria had to give up one of her biggest dreams, which was to be a singer, and instead went to work in a building in Brasília. One day, Elza was selected to compose a musical and in this offer, Maria found the perfect chance to revive her dream in her daughter, doing everything to make the girl experience this show.

When Maria thinks she's at the bottom of the barrel, she discovers that this barrel has a double bottom: no job, no money, no worthy accomplishment and now a dying mother begging her to do something with her life. before his death! She has no other choice but to get back in hand and find a career ... But what can she do with a 7-year-old BAC in communication and no work experience? Believe it or not, she can become a substitute in a high school! Thus, Maria, 30, as responsible and stable as a 14-year-old teenager, returns to high school in the role of the one to whom she threw pieces of erasers: the replacement. Too jaded teachers, rebellious teenagers, intimidated or not sufficiently denounced, she will be confronted with the reality of teachers and young people today and, who knows, may discover a vocation.