Eight Days: Louis Mander & Louisa Petaï’s new opera focuses on Mary, Queen of Scots’ final days using her own words

Mary, Queen of Scots remains a character who continues to fascinate and inspire composers. Composers as diverse as Schumann and Richard Wagner set her poetry. Donizetti’s opera though historically inaccurate continues to hold the operatic stage, and more recent composers inspired by her have included Thea Musgrave. Brett Dean’s new opera, Of One Blood which examines the rivalry between Mary and her cousin Elizabeth, debuted at the Bavarian State opera last month and will be travelling to Santa Fe Opera, State Opera South Australia, and Garsington.

In September, composer Louis Mander will be debuting his own work inspired by the tragic queen, Eight Days. Written for soprano and chamber ensemble, the opera will be performed by Louisa Petaï who has also written the libretto based on Mary’s letters. 

Louis Mander is no stranger to opera having written his first one in 2006. His recent output has included a comic operetta, The Dowager’s Oyster (2015/16) and The Waves (2024) based on Virginia Woolf’s novel. 

Eight Days debuts at Tête à Tête on 9 September 2026 before travelling to St Mary’s Church, Fotheringhay, the very location where Mary would have spent her last night before her execution at Fotheringhay Castle. The castle was almost totally demolished in the 1630s and little remains. Fotheringhay Church was begun as a collegiate foundation by King Edward III in 1430 though only the nave, aisles and octagonal tower remain of the original building.

On 1st February 1587, Mary, Queen of Scots, after twenty years of captivity, still remains imprisoned in Fotheringhay castle.  Unbeknownst to her, Queen Elizabeth I – her own cousin – has signed her death warrant.  She has only eight days left to live. The opera’s libretto draws upon contemporary historical accounts and uses Mary’s own words above all as Mary braces herself for death, yet still a queen, deliberately sows the seeds for her own enduring legacy as martyr and icon. 

Further information from Louis Mander’s website,