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With the 96-year-old US-resident composer in attendance, the opening of Thea Musgrave’ s Mary, Queen of Scots was an event of the kind that used to be a regular occurrence at the English National Opera (ENO).
The third and final act has the most poignant music of all as Mary’s concern for her child (the future King James VI of Scotland – and James I of England) causes yet more personal anguish.
Musgrave’s libretto highlights very contemporary issues such as who brings political stability, who brings peace, the competing claims of rich and poor, and Laing’s modern setting allows such questions to resonate.
Premiered by Scottish Opera at the Edinburgh International Festival under Musgrave’s own baton in 1977, Mary, Queen of Scots has not – until now – been staged in London.
The long first act deals with the religious and political struggles facing Mary, arriving back home in Scotland as queen.
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