Donizetti’s Lucia di Lammermoor
(Live in HD Series Web Page)
Outdoors at the
Metropolitan Opera House
Anna Netrebko as Lucia
Piotr Beczala as Edgardo
Mariusz Kwiecien as Enrico
Ildar Abdrazakov as Raimondo
Conductor, Marco Armiliato
Composer: Gaetano Donizetti
Libretto: Salvatore Cammarano
Production: Mary Zimmerman
Set Designer: Daniel Ostling
Costume Designer: Mara Blumenfeld
Lighting Designer: T.J. Gerckens
Dr. Roberta E. Zlokower
August 25, 2013
Lucia di Lammermoor (1839)
Original Recorded Production, March 19, 2011
(Read the Synopsis of Lucia Di Lammermoor).
Tonight’s Live in HD Series, Met Opera production, presented outdoors in the Plaza, was Lucia di Lammermoor, a 2007 Mary Zimmerman production, recorded in HD resonance, on March 19, 2011. Scenery and costumes are complex and traditional in styling, with dark, Scottish, craggy hills, an interior castle with balcony and staircase, and leafy woodlands and fountain. Two highly placed Scottish men, both related from the families of Ravenswood and Lammermoor, are in a dangerous game of political power. Enrico, of Lammermoor, needs financial standing and communal strength, and sees potential in a marriage between Arturo and his sister, Lucia. Enrico has lost battles and property, and his only chance to avoid total loss is for this marriage to take place quickly. However, Lucia is in love with Edgardo of Ravenswood, who is the last living soul of his clan, all having been destroyed by Enrico. Lucia, in the woodlands, sees a ghost of a bride, walking about in a disheveled white filmy gown, a premonition of her own fate. Eventually, murder and madness ensue in the castle, with cast and chorus dressed in fine wedding attire.
Anna Netrebko, in the soprano role of Lucia, is exquisite in her Scottish coat and bonnet in the early scenes and in the blood-soaked wedding dress in the final scenes. Throughout this expansive production, with tightly filmed close-ups, replete with facial gestures and nuanced expressiveness, Ms. Netrebko is imbued with authentic theatrics, as well as sumptuous vocal talent and clear tones. Her arias are filled with lush musicality, merged with orchestral effects. Conductor, Marco Armiliato, filled the Plaza and beyond, through the Met Opera’s giant amplification system, with music that begs re-visiting, when this production appears live, inside the hall. In Ms. Netrebko’s mad scene, she truly became unhinged, singing with persuasive ardor and angst. Her earlier scenes with Piotr Beczala, in the tenor role of Edgardo, Lucia’s lover, burst with chemistry between the two. Mr. Beczala, reviewed in this column previously in Manon, is a sensational performer, fully in command psychically and vocally, an artist well worth experiencing throughout the season. His own final scene, deep in a dark tunnel, created a breathless ambiance on the Plaza.
Marius Kwiecien, in the baritone role of Enrico, was menacing and vigorous, as he sang with deep, driven tones. In the wedding scene, as he forces Lucia to sign the marital certificate, his facial close-ups showed taut veins and piercing eyes. Ildar Abdrazakov in the bass role of Raimondo, Lucia’s tutor, who also seems to be a religious pastor and family counselor, sang with richly vibrant tones and dramatic conviction. The chorus sang with exceptional beauty, and, in the stillness of the wedding tragedies, froze in place. Daniel Ostling’s sets and Mara Blumenfeld’s costumes created a classic sense of regality and history. In the gripping mad scene, with Lucia delusional and singing to Edgardo, although he’s not there, a glass harmonica appears in the orchestral dissonance. Such details in this production made this recorded performance come alive, not to mention Ms. Netrebko’s endurance, as she’s onstage during so much of the three acts. She received endless audience applause, both on film and in the Plaza. Click HERE for the 2013-2014 opera schedule and tickets.
Anna Netrebko in "Lucia di Lammermoor"
Courtesy of Met Opera Website