Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

LA Opera Presents Figaro 90210

Figaro 90210 is Vid Guerrerio’s modern version of Wolfgang Amadeus Mozart and Lorenzo DaPonte’s 1786 opera, The Marriage of Figaro.

Tristan und Isolde at the Wiener Staatsoper

David McVicar’s production of Wagner’s seminal music drama runs aground on the Cornish coast.

Songs of Night and Travel, Wigmore Hall

The coming of ‘Night’ brings darkness, shadows and mystery; sleep, dreams and nightmares; fancies, fantasies and passions.

Andrea Chénier, Royal Opera

Umberto’s Giordano’s Andrea Chénier, now at the Royal Opera House, is no more about history than Jesus Christ Superstar is about theology.

Yevgeny Onegin in Warsaw

Mariusz Treliński’s staging of Tchaikovsky’s operatic masterpiece is visually fascinating but psychologically confusing

Orfeo at the Roundhouse, Royal Opera

The regal trumpets and sackbuts sound their bold herald and, followed by admiring eyes, the powers of state and church begin their dignified procession along a sloping walkway to assume their lofty positions upon the central dais.

Idomeneo in Montpellier

Vestiges of a momentous era . . .

L’elisir d’amore in Marseille

There were hints that L’elisir is one of the great bel canto masterpieces.

Das Liebesverbot opens the new season at Teatro Verdi in Trieste

Aron Stiehl’s production of this rare early Wagner opera cheerfully brings commedia dell’arte to La Cage aux Folles.

Amsterdam: Lohengrin Lite

Stage director Pierre Audi is not one to be strictly representational in his story telling.

Fidelio, Manitoba Opera

For the first time in its 42-year history, Manitoba Opera presented Beethoven’s mighty ode to freedom, Fidelio, with an extraordinary production that resonated as loudly as tolling bells of freedom.

The Hilliard Ensemble: Farewell Concert at Wigmore Hall

Forty-one years is a long time for any partnership to be sustained and to flourish — be it musical, commercial or marital! And, given The Hilliard Ensemble’s ongoing reputation as one of the world’s finest a cappella groups, noted for their performances of works dating from the 11 th century to the present day, it must have been a tough decision to call an end to more than four decades of superlative music-making.

Fidelio opens new season at La Scala

Daniel Barenboim makes a triumphant departure as direttore musicale del Teatro alla Scala with Beethoven’s operatic masterpiece.

Mahler Songs: Christian Gerhaher, Wigmore Hall

Star singer and star composer, a combination guaranteed to bring in the fans. Christian Gerhaher sang Mahler at the Wigmore Hall with Gerold Huber. Gerhaher shot to fame when he sang Wolfram at the Royal Opera House Tannhäuser in 2010.

Modernity vanquished? Verdi Un ballo in maschera, Royal Opera House, London

Verdi’s Un ballo in maschera at the Royal Opera House — a masked ball in every sense, where nothing is quite what it seems.

La Traviata in Ljubljana Slovenia

Small country, small opera house — big ensemble spirit. Internationally acclaimed soprano Natalia Ushakova steps in for indisposed local Violetta with mixed results.

Otello in Bucharest — Moor’s the pity

Bulgarian director Vera Nemirova’s production of Otello for the Romanian National Opera in Bucharest was certainly full of new ideas — unfortunately all bad.

Il trovatore at Lyric Opera of Chicago

For its current revival of the 2006-2007 production of Giuseppe Verdi’s Il trovatore by Sir David McVicar Lyric Opera has assembled a talented quintet of principal singers whose strengths match this conception of the opera.

Mary, Queen of Heaven, Wigmore Hall

O Maria Deo grata — ‘O Mary, pleasing to God’: so begins Robert Fayrfax’s antiphon, one of several supplications to the Virgin Mary presented in this thought-provoking concert by The Cardinall’s Musick at the Wigmore Hall.

Analyzed not demonized — Tristan und Isolde, Royal Opera House

Wagner’s Tristan und Isolde at the Royal Opera House, first revival of the 2009 production, one of the first to attract widespread hostility even before the curtain rose on the first night.

OPERA TODAY ARCHIVES »

Performances

Stacy Tappan
19 Oct 2012

Lucia di Lammermoor at Arizona Opera

The role of Lucia in Donizetti’s Lucia di Lammermoor was written for Fanny Tacchinardi Persiani who lived from 1812 to 1867.

Lucia di Lammermoor at Arizona Opera

A review by Maria Nockin

Above: Stacy Tappan (Lucia)

 

The daughter of the famous Italian tenor and cellist, Nicola Tacchinardi, Fanny began working on her vocal technique in childhood. Eventually she became associated with the music of bel canto composers, such as Rossini, Donizetti, Bellini, and the young Verdi. In 1832, she made her stage debut at Livorno and she soon appeared in major Italian cities singing major roles in operas such as Tancredi, La gazza ladra, Il pirata, and L’elisir d’amore.

When Donizetti heard her in 1833, he described her voice as “rather cold, but quite accurate and perfectly in tune.” He chose her to create title roles in three of his operas: Rosmonda d’Inghilterra, Pia de’ Tolomei, and Lucia di Lammermoor. Her voice has elsewhere been described as sweet and light with a brilliant upper register. We know that she had remarkable agility and that she could sing a given aria several times in succession, each time with a different cadenza. It seems that she caused an unfortunate dispute during the rehearsals for the Lucia premiere. Donizetti wrote that she made a fuss, which terrified tenor Gilbert Duprez, because she wanted the last scene of the opera to be sung by the soprano, not the tenor.

Gilbert Duprez (1806-1896), the French tenor famous for pioneering the delivery of an operatic high C from the chest, created the role of Edgardo in Lucia. Having made his debut as Count Almaviva in Rossini’s Il barbiere di Siviglia in Paris in 1825, a few years later he decided to try his luck in Italy. There, the operatic scene was more active and he found work even though he preferred to sing operas in which there were few elaborate coloratura passages. In 1831, Duprez took part in the first Italian performance of Rossini’s Guglielmo Tell and, for the first time during the performance of an opera, he sang a high C full voice, not in the so-called falsetto register as was usual at that time. After that, his success was assured in Italy. By 1835, when he sang Edgardo at the world premiere of Lucia di Lammermoor at the San Carlo Opera House in Naples, his reputation was well established. He also sang leading roles in other Donizetti premieres such as La favorite, Les Martyrs, and Dom Sébastien. In 1851, he made his last public appearance as Edgardo at the Théâtre des Italiens in Paris. By that time his high C from the chest had become a standard feature of operatic singing. His legacy was the tenore di forza, a direct ancestor of today’s dramatic tenor.

Domenico Cosselli (1801-1855) was an Italian bass-baritone most often associated with the florid singing of Rossini’s operas. For Donizetti, however, he created: Olivo in Olivo e Pasquale, Azzo in Parisina, and Enrico in Lucia di Lammermoor. He was one of the first singers to make the transition from the old concept of a bass to what we know today as a baritone, a voice type that in 1835 was still in its infancy. He gave the role of Enrico a new dimension that looked forward to the idea of the Verdi baritone.

On Saturday evening October 13, Arizona Opera presented Lucia di Lammermoor in a traditional production with sets by Robert R. O’Hearn that was originally seen at Florida Grand Opera. Fenlon Lamb, who has sung mezzo-soprano roles on the opera stage, directed it in Arizona. She told Lucia’s sad tale in a most realistic manner. Some might have questioned her use of an actress to embody the ghost that Lucia says she sees at the fountain, but it did underline the young woman’s desperate mental state. The attractive, detailed costumes from A.T. Jones and Sons were correct for the time and place. Douglas Provost’s evocative lighting added much to the show’s gothic ambience.

The Lucia was Stacy Tappan, who sang one of the Rhine Maidens in the recent Los Angeles Ring of the Nibelungen. Hers is a substantial lyric coloratura voice and she has the technical resources to follow in the steps of singers like Tacchinardi Persiani. Joseph Wolverton was a romantic Edgardo who sang with a secure line. The surprise of the evening was the Enrico of Mark Walters. He sang his first scene aria, “Cruda, funesta smania”, with powerful low tones and thrilling top notes. Jordan Bisch, who has a dark, dense voice, made an auspicious debut as Raimondo, the minister who tries to make peace between the families. Samuel Levine was an appropriately smarmy Normanno and Laura Wilde a dramatic Alisa. David Margulis, whom I last heard as an apprentice at Santa Fe Opera, was a radiant voiced Arturo who held his own in the beautifully sung sextet. The chorus is most important in this opera and, thanks to the hard work of Henri Venanzi, Arizona Opera has a truly first class choral group. They acted individually and sang their harmonies with exquisite precision. Steven White conducted at a brisk pace, never letting the tension sag in the least. He shaped the orchestral sound so as to bring out every color and detail of Donizetti’s magnificent score. This was a fine performance and an auspicious opening for Arizona Opera’s 2012-2013 season.

Maria Nockin


Cast:

Lucia: Stacy Tappan; Edgardo: Joseph Wolverton; Enrico: Mark Walters; Raimondo: Jordan Bisch; Normanno: Samuel Levine; Arturo: David Margulis; Alisa: Laura Wilde; Conductor: Steven White; Director: Fenlon Lamb; Chorus Master: Henri Venanzi; Set Designer: Robert R. O’Hearn; Costumes: A.T. Jones and Sons; Lighting Design: Douglas Provost.

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):