Sounds of Scotland
James MacMillan with, from left, Rebecca Lea, Emma Tring, and right, Sofi Jeannin for his setting of Ordo Virtutum; inset: Heidi Stober in Mary Queen of Scots
photo: Mark Allan
Heidi Stober is a blazing force in the title role. From Act I’s flirtatious good-time-girl to Act III’s imperious queen she’s alert not only to the shifting sands of character but also to distinct public and private selves – converging inexorably as the piece progresses.
Is this a meditation on displacement, the refugee crisis, on the impermanence of political institutions and insubstantiality of sectarian division? Or is it perhaps a statement about the banality and universality of human power and conflict? It could be any of these or none.
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