Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Prom 9: Fidelio lives by its Florestan

The last time Beethoven’s sole opera, Fidelio, was performed at the Proms, in 2009, Daniel Barenboim was making a somewhat belated London opera debut with his West-Eastern Divan Orchestra.

The Merchant of Venice: WNO at Covent Garden

In Out of Africa, her account of her Kenyan life, Karen Blixen relates an anecdote, ‘Farah and The Merchant of Venice’. When Blixen told Farah Aden, her Somali butler, the story of Shakespeare’s play, he was disappointed and surprised by the denouement: surely, he argued, the Jew Shylock could have succeeded in his bond if he had used a red-hot knife? As an African, Farah expected a different narrative, demonstrating that our reception of art depends so much on our assumptions and preconceptions.

Leoncavallo's Zazà at Investec Opera Holland Park

The make-up is slapped on thickly in this new production of Leoncavallo’s Zazà by director Marie Lambert and designer Alyson Cummings at Investec Opera Holland Park.

McVicar’s Enchanting but Caliginous Rigoletto in Castle Olavinlinna at Savonlinna Opera Festival

David McVicar’s thrilling take on Verdi’s Rigoletto premiered as the first international production of this Summer’s Savonlinna Opera Festival. The scouts for the festival made the smart decision to let McVicar adapt his 2001 Covent Garden staging to the unique locale of Castle Olavinlinna.

Jette Parker Young Artists Summer Performance at Covent Garden

The end of the ROH’s summer season was marked as usual by the Jette Parker Young Artists Summer Performance but this year’s showcase was a little lacklustre at times.

A Falstaff Opera in Shakespeare’s Words: Sir John in Love

Only one Shakespeare play has resulted in three operas that get performed today (whether internationally or primarily in one language-region). Perhaps surprisingly, the play in question is a comedy that is sometimes considered a lesser work by the Bard: The Merry Wives of Windsor.

Sallinen’s Kullervo is Brutal and Spectacular Finnish Opera at Savonlinna Opera Festival

For the centenary of Finland’s Independence, the Savonlinna Opera Festival brought back Kari Heiskanen’s spectacular 1992 production of Aulis Salinen’s Kullervo. The excellent Finnish soloists and glorious choir unflinchingly offered this opera of vocal blood and guts. Conductor Hannu Lintu fired up the Savonlinna Opera Festival Orchestra in Sallinen’s thrilling music.

Kát’a Kabanová at Investec Opera Holland Park

If there was any doubt of the insignificance of mankind in the face of the forces of Nature, then Yannis Thavoris’ design for Olivia Fuchs production of Janáček’s Kát’a Kabanová - first seen at Investec Opera Holland Park in 2009 - would puncture it in a flash, figuratively and literally.

A bel canto feast at Cadogan Hall

The bel canto repertoire requires stylish singing, with beautiful tone and elegant phrasing. Strength must be allied with grace in order to coast the vocal peaks with unflawed legato; flexibility blended with accuracy ensures the most bravura passages are negotiated with apparent ease.

Don Pasquale: a cold-hearted comedy at Glyndebourne

Director Mariame Clément’s Don Pasquale, first seen during the 2011 tour and staged in the house in 2013, treads a fine line between realism and artifice.

Billy Budd Indomitable in Des Moines

It is hard to know where to begin to praise the peerless accomplishment that is Des Moines Metro Opera’s staggeringly powerful Billy Budd.

Tannhäuser at Munich

Romeo Castellucci’s aesthetic — if one may speak in the singular — is very different from almost anything else on show in the opera house at the moment. That, I have no doubt, is unquestionably a good thing. Castellucci is a serious artist and it is all too easy for any of us to become stuck in an artistic rut, congratulating ourselves not only on our understanding but also,  may God help us, our ‘taste’ — as if so trivial a notion had something to do with anything other than ourselves.

Des Moines Answers Turandot’s Riddles

With Turandot, Des Moines Metro Opera operated from the premise of prima la voce, and if the no-holds-barred singing and rhapsodic playing didn’t send shivers down your spine, well, you were at the wrong address.

Maria Visits Des Moines

With an atmospheric, crackling performance of Astor Piazzolla’s Maria de Buenos Aires, Des Moines Metro Opera once again set off creative sparks with its Second Stage concept.

Die schöne Müllerin: Davies and Drake provoke fresh thoughts at Middle Temple Hall

Schubert wrote Die schöne Müllerin (1824) for a tenor (or soprano) range - that of his own voice. Wilhelm Müller’s poems depict the youthful unsophistication of a country lad who, wandering with carefree unworldliness besides a burbling stream, comes upon a watermill, espies the miller’s fetching daughter and promptly falls in love - only to be disillusioned when she spurns him for a virile hunter. So, perhaps the tenor voice possesses the requisite combination of lightness and yearning to convey this trajectory from guileless innocence to disenchantment and dejection.

World Premiere of Aulis Sallinen’s Castle in the Water Savonlinna Opera Festival

For my first trip to Finland, I flew from Helsinki to the east, close to the border of Russia near St. Petersburg over many of Suomi’s thousand lakes, where the summer getaway Savonlinna lays. Right after the solstice during July and early August, the town’s opera festival offers high quality productions. In this enchanting locale in the midst of peaceful nature, the sky at dusk after the mesmerising sunset fades away is worth the trip alone!

Mozart and Stravinsky in Aix

Bathed in Mediterranean light, basking in enlightenment Aix found two famous classical works, Mozart’s Don Giovanni and Stravinsky’s The Rake’s Progress in its famous festival’s open air Théâtre de l’Archevêche. But were we enlightened?

Des Moines: Nothing ‘Little’ About Night Music

Des Moines Metro Opera’s richly detailed production of Sondheim’s A Little Night Music left an appreciative audience to waltz home on air, and has prompted this viewer to search for adequate superlatives.

Longborough Festival Opera: A World Class Tristan und Isolde in a Barn Shed

Of all the places, I did not expect a sublime Tristan und Isolde in a repurposed barn in the Cotswolds. Don’t be fooled by Longborough’s stage without lavish red curtains to open and close each act. Any opera house would envy the riveting chemistry between Peter Wedd and Lee Bisset in this intimate, 500 seat setting. Conductor Anthony Negus proved himself a master at Wagner’s emotional depth. Epic drama in minimalistic elegance: who needs a big budget when you have talent and drama this passionate?

The Royal Concertgebouw Orchestra throws a glossy Bernstein party

For almost thirty years, summer at the Concertgebouw has been synonymous with Robeco SummerNights. This popular series expands the classical concert formula with pop, film music, jazz and more, served straight up or mixed together. Composer Leonard Bernstein’s versatility makes his oeuvre, ranging from Broadway to opera, prime SummerNight fare.

OPERA TODAY ARCHIVES »

Reviews

Anna Christy as Lucia [Photo by Robert Workman courtesy of ENO]
07 Feb 2010

Donizetti revealed: Lucia di Lammermoor, ENO, London

Donizetti’s original concept of Lucia di Lammermoor is revealed in its true glory in this ground breaking production by the English National Opera, first heard in 2008. The opera is loved in its familiar form, but the new critical edition reveals the depth of Donizetti’s musical creation.

Gaetano Donnizetti: Lucia di Lammermoor

Lucia: Anna Christy; Enrico: Brian Mulligan; Edgardo: Barry Banks; Lord Arturo Bucklaw: Dwayne Jones; Raimondo Bidebent: Clive Bayley; Alisa: Sarah Pring; Normanno: Philip Dagett. Orchestra and Chorus of the English National Opera. Glass harmonica: Alexander Marguerre. Conductor: Anthony Walker. Director: David Alden.

Above:

All photos by Robert Workman courtesy of ENO

 

Donizetti’s music is so lyrical that we could be lulled, but he understood the true horrific nature of the narrative. In his time, the glass harmonica was believed by some to induce insanity. In theory, it’s surreal drone would have added an extra frisson of danger to early performances, enhancing the dramatic impact. Restoring the glass harmonica makes good dramatic as well as musical sense, even though the full impact may be lost on modern audiences used to horror movies and the ondes martenot. This ENO production, directed by David Alden, and designed by Charles Edwards, significantly places a luminous green object left stage, glowing menacingly. It represents the glass harmonica, played in the pit by Alexander Marguerre, one of the few glass harmonica specialists in the world. It reaffirms the importance of the musical character in this opera.

Two centuries of flamboyant performance practice have shaped our assumptions, but the evidence is that Donizetti’s approach was more restrained. There’s plenty of drama inherent in Lucia’s personality, so this production shifts the balance back to the inherent drama in Donizetti’s music. Anna Christy’s high soprano isn’t as magnificent as, say, Maria Callas, but it fits well with the cleaner bel canto aesthetic. Christy also evokes the fragility so fundamental to Lucia’s personality. Her timbre is clean and pure, almost shrill at times, but that’s psychologically astute. When Lucia finally breaks down in wild frenzy, it’s all the more disturbing.

Lucia_di_Lammermoor_006.gifBarry Banks (Edgardo)

This Lucia’s still in the nursery, playing with dolls, wearing a dress that shows her ankles. When Enrico (Brian Mulligan) fondles her legs, it shocking. But then selling his sister into marriage is shocking too. Nonetheless, Enrico recoils in horror at what he’s done and regresses, playing with a toy cart. Mulligan’s baritone is surprisingly delicate, so even if his physique isn’t child-like, he conveys the idea that Enrico — just like Lucia — doesn’t want to grow up and face the struggles that adulthood brings..

Donizetti Italianizes Sir Walter Scott’s fantasy of Scottish myth. Because the setting is ambiguous, this set design (by Charles Edwards) plays an important role in commenting on and expanding the themes implicit in the drama. What we need to know is that once powerful , families have been destroyed. In hues of grey, green and white, we see the faded glory of a marble mansion falling into ruin, paint peeling, windows boarded. Lammermoor is on the brink of collapse. Lucia is being traded off so the family can survive. Enrico’s not a craven brute, but a victim of overwhelming circumstances.

Lucia_di_Lammermoor_002.gifAnna Christy (Lucia) and Company

The mad scene takes place in an alcove above the main stage, complete with curtained backdrop. The marriage chamber becomes a stage where the ritual of marriage is acted out. This is Lucia’s “sacrifice” on the altar of social pressure. Even though Arturo is kind, losing her virginity is an act of violence, to which Lucia responds with extreme force.

Lucia is clearly unstable long before the wedding. She sees the ghost of a dead maiden, and falls suddenly in love when Edgardo kills a wild animal at her feet. Blood, love and death inextricably linked. Even in Donizetti’s time, some would have intuited the connection, but the Victorian costumes (Brigitte Reiffenstuel) in this production allude to images of rigid respectability. Beneath the buttoned up bombazine, sexual repression corrodes, just like the rusting windows in the Ashton mansion. Obviously, Lucia wants to die because she’s let Edgardo down by signing the marriage contract. But she’s also choosing death to avoid losing her innocence.

Edgardo (Barry Banks) is just as weighed down by family tradition as Enrico is, but he’s already lost everything but his father’s tomb. Here he’s dressed in a kilt, the last remaining wild Highlander in a new world of Victorian propriety. Walter Scott’s novels about a lost past appealed to the Romantic imagination because they offered an alternative to convention, in an era before there was a vocabulary for psychological concepts. Perhaps that’s why Alden has Edgardo killing himself with a gun instead of a sword. Edgardo, a throwback to a wild Highland past, can’t buck “modern” society.

Lucia_di_Lammermoor_011.gifAnna Christy (Lucia) and Brian Mulligan (Enrico)

With Lucia, Edgardo and Enrico destroyed, the future, as such, rests with figures like Raimondo Bidebent (what a name!). Clive Bayley’s portrayal is sympathetic — no Calvinist hellfire and brimstone here. Even when he attacks Normanno (Philip Daggett), he’s not specially vindictive. But he doesn’t understand the passion that drove Lucia and Edgardo. Something’s been lost in this new world of genteel reticence.. This superb production of Lucia di Lammerrmoor does justice to the drama and to the depth of Donizetti’s music, revealed in this lucid new edition.

Anne Ozorio

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):