Lucia di Lammermoor - Schedule, Program & Tickets
Lucia di Lammermoor
Enrico wants to marry his sister Lucia to the powerful Lord Arturo Bucklaw to save his life. Lucia, on the other hand, swore eternal loyalty to Edgardo Ravenswood, the mortal enemy Enricos, who claims ancient rights to his property. With a fake letter accusing Edgardo of infidelity and blaming Lucia for the demise of the family, Enrico succeeds in persuading Lucia to marry Lord Bucklaw. Edgardo arrives at the wedding and curses Lucia. She kills her husband. Edgardo challenges Enrico to a duel. Lucia is infested with madness that leads to death. Edgardo stabs when he hears the death knell.
Donizetti's most famous tragic opera goes back to Sir Walter Scott's popular 1819 novel: The Bride of Lammermoor. Salvatore Cammarano has taken a radical path in his libretto, neglecting not only the political premises of the conflict between the Ashtons and Ravenswoods and banishing the entire prehistory in some intimations in the dialogues, but also the complex web of relationships of the novel reduced to the conflicts between Enrico Ashton, his sister Lucia and her lover Edgardo.
Director and outfitter Filippo Sanjust's production is located in the period of origin of the work (1835). An intervening curtain with a flowing royal blue curtain and a girl who wanders in a ghostly fluttering robe suggests the romantic theater space. The stage settings are reminiscent of reprint editions of old books. The black robes, red sashes, white collars, plumes and cuffs of the Scottish men create a colorful contrast - and an appropriate setting for one of the main works of Italian bel canto.
It was the merit of Maria Callas to have resuscitated Donizetti's neglected works in Italy. Recorded recordings are known for the almost vibrato-free intimate tone of Callas, who, as for many roles in the highly dramatic coloratura section, has also set standards for the interpretation of Lucia.
The action of the protagonists is determined by extreme passions: on the one hand by Enrico's hatred of Edgardo (Cavatine "Cruda ... funesta smania", first act) and Lucia, who opposes his plans, and on the other by Lucia's love for Edgardo (Cavatine " Regna nel silenzio ", Act 1). That this love also means Lucia's demise is masterfully expressed in Donizetti's music: the coloraturas that describe their overwhelming love in the first act become a sign of their mental confusion in their incredible aria at the dramatic climax of the opera.
A second moment of extreme emotional drama is the sextet "Chi mi frena in tal momento" in the second act. About this sextet Giacomo Puccini wrote: "In a relationship we Italians surpass the German composers, namely in the ability to infinite sadness in the To express major key. Edgardo and Lucia are deeply desperate - so much so that Lucia eventually falls into madness and Edgardo commits suicide; and what do we find in the singing voice? Sugar Plums! Sweet honey! - although Lucia sings: "I am betrayed by heaven and earth! I want to cry, but tears are denied me. Desperation consumes my heart. "This sextet is rightly considered the most famous opera ensemble ever written. It's a masterpiece of polyphony ... "
Subject to change.
Donizetti's most famous tragic opera goes back to Sir Walter Scott's popular 1819 novel: The Bride of Lammermoor. Salvatore Cammarano has taken a radical path in his libretto, neglecting not only the political premises of the conflict between the Ashtons and Ravenswoods and banishing the entire prehistory in some intimations in the dialogues, but also the complex web of relationships of the novel reduced to the conflicts between Enrico Ashton, his sister Lucia and her lover Edgardo.
Director and outfitter Filippo Sanjust's production is located in the period of origin of the work (1835). An intervening curtain with a flowing royal blue curtain and a girl who wanders in a ghostly fluttering robe suggests the romantic theater space. The stage settings are reminiscent of reprint editions of old books. The black robes, red sashes, white collars, plumes and cuffs of the Scottish men create a colorful contrast - and an appropriate setting for one of the main works of Italian bel canto.
It was the merit of Maria Callas to have resuscitated Donizetti's neglected works in Italy. Recorded recordings are known for the almost vibrato-free intimate tone of Callas, who, as for many roles in the highly dramatic coloratura section, has also set standards for the interpretation of Lucia.
The action of the protagonists is determined by extreme passions: on the one hand by Enrico's hatred of Edgardo (Cavatine "Cruda ... funesta smania", first act) and Lucia, who opposes his plans, and on the other by Lucia's love for Edgardo (Cavatine " Regna nel silenzio ", Act 1). That this love also means Lucia's demise is masterfully expressed in Donizetti's music: the coloraturas that describe their overwhelming love in the first act become a sign of their mental confusion in their incredible aria at the dramatic climax of the opera.
A second moment of extreme emotional drama is the sextet "Chi mi frena in tal momento" in the second act. About this sextet Giacomo Puccini wrote: "In a relationship we Italians surpass the German composers, namely in the ability to infinite sadness in the To express major key. Edgardo and Lucia are deeply desperate - so much so that Lucia eventually falls into madness and Edgardo commits suicide; and what do we find in the singing voice? Sugar Plums! Sweet honey! - although Lucia sings: "I am betrayed by heaven and earth! I want to cry, but tears are denied me. Desperation consumes my heart. "This sextet is rightly considered the most famous opera ensemble ever written. It's a masterpiece of polyphony ... "
Subject to change.
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