Lucia di Lammermoor Insight (The Royal Opera)
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- Опубликовано: 6 сен 2024
- Immerse yourself in Donizetti’s powerfully evocative opera with renowned director Katie Mitchell and members of the creative team as they reveal their plans for the premiere of a new production. Find out more at www.roh.org.uk/...
To find out more about Katie Mitchell's production of Lucia di Lammermoor visit the ROH website or sign up for a free Digital Programme at www.roh.org.uk/.... Use promo code FREELUCIA to get yours free.
(As the premiere approaches, the digital programme will be updated with films, articles and pictures to bring you closer to the production.)
Lucia di Lammermoor is Donizetti's tragic masterpiece. The opera marked the beginning of his partnership with regular collaborator librettist Salvadore Cammarano - who, as was the fashion of the day, looked to Walter Scott. Cammarano’s adaptation of Scott’s novel The Bride of Lammermoor moved Donizetti greatly, and in the subsequent score he produced not only some of his most beautiful but also his most dramatically potent music. Within a few years of its premiere in Naples on 26 September 1835 Lucia had entered the international repertory. Here it has remained, despite a practice in the 19th and 20th centuries to make cuts that obscured Donizetti’s deft handling of his ensemble cast, with a consequent impact on the opera’s brilliant dramatic pacing.
Lucia’s ‘Mad Scene’ is the opera’s most famous moment - but it is Donizetti’s recollection of previous motifs, such as Lucia’s Act I aria ‘Regnava nel silenzio’ and her duet with Edgardo ‘Verranno a te sull’aure’ that poignantly make manifest her distracted mind. Other highlights include the acclaimed sextet ‘Chi mi frena in tal momento’, where Edgardo interrupts the wedding party, the furious duet between Enrico and Edgardo at the start of Act III and the opera’s closing Tomb Scene, with its heartfelt and sombre depiction of Edgardo’s loss. Director Katie Mitchell (Written on Skin) sets The Royal Opera’s new production in the 1840s and focusses on how an intelligent woman, failed by the men in her life, experiences a horrifying mental breakdown.
I was blown away by this production. It was a very powerful emotional experience which will stay with me forever. Thank you Katie Mitchell
Bravo~ Tenor junghoon kim!
This was a fascinating insight in to the workings of Opera (in my opinion the greatest of all the Arts!)
I have seen many Lucia’s, a Beverly Sills production in New York, a performance at The Orange Festival, as well as a wonderful performance given by Natalie Dessay at the Bastille Opera in Paris.
However the most memorable occasion for me was when I visited the Holiday Home in Mombasa, Kenya belonging to a neighbor who sang, just for me alone, Edgardo’s aria from the last Act - my neighbors name was Giuseppe di Stefano!
I am very much looking forward to seeing this production at my local cinema in Bagneres de Luchon in The French Pyrenees .
I love opera, I hope someday I can watch a live opera performance.
+Rachel Omandam Yes, it is very rewarding to actually be in a theatre and unlike in ballet it does not matter where you sit, you can even stand, which makes it more affordable and not at all formal. And after live performances, I found I was ready to just listen, and start listening to the "scratchy" historical recordings with the the best singers unmatched today. You then are able to imagine them on stage and the sound quality is no longer important. But that's just me and my path...Good luck and enjoy.
I love ballet to I'm so hoping that I can watch both of two I love.... he he he. wanted to attend ballet school someday hopefully.. 🙏
I love Diana Damrau! ❤️I'm a big fan of her.😁
Très bel exposé de Dr Flora Wilson ! A 33'12", il y a une petite erreur de terme français qui a entraîné une traduction anglaise erronée . A propos de "chest voice", ce n'est pas "vue de poitrine" en français traduit par "the see of the chest" mais "voix de poitrine" en français à traduire en anglais par "voice of the chest" !
Excellent introduction to the opera. I am really looking forward to the 25th of April (in Stockholm)!
The bride of Lammermoor by mr. Walter Scott. I will look for that.
I love Maria callass Lucia Di Lammermoor. Her "lombro Mostrasi ah me, AAHH!" (from Regnava), her "vacilla il pie to Edgardo a pie Dell'ara" (from mad scene il dolce sonna) is unbeatable.
The expression " if it works, don't fix it " comes to mind. I do not understand the complimentary comments below. There is no accounting for tastes.
Thank you so much for a great production. I enjoyed it immensely. The whole cast balanced well. I would not describe it as 'feminist' it tells the story realistically and with sufficient sex and violence. Diana Damrau is an exceptional performer and my cinema viewing covered every nuance of her expression. The split stage was a positive idea and each set well chosen. The only (very slight) reservation is the demand for Diana Damrau. It is a lot to ask of a performer and there are few who could carry the role so fully. She is an amazing soprano and her commitment, as an actress, is total. Every actress is dependent on her partner and each, especially Rachael Lloyd, gave perfect foils for Diana to respond to. A cast of this calibre is not always present and this production would not work with inferior performers. Very well done ROH for a superb evening.
Hmmm.... I'm seeing the last performance of this in Nov 2017, I've paid £165 a ticket plus dinner there..... I hope it will be good as the Met version I saw 10 years ago, everyone has been slating it, we'll see!
Thank you. Interesting slant for direction. Much more in line with reality. Liked the explanation of the killing by two women. Looking forward to the cinema transmission.
+Pamela Elphinstone I saw the cinema transmission and and the production is incredible.Not everyone will enjoy it,traditionalists will complain but then i think there is nothing wrong with trying something new.I saw Diana Damrau and Charles Castronovo and they make a passionate couple.According to the tweets shown on screen during the intervals,many of those that saw the show thought it was moving, and very well acted by everyone concerned.
what an ugly misguided production. completely off-base.
how lucky painters are that we can't today 're-do' their paintings to suit our modern sensibilities...
I agree with the comment relating to painters and their works. I'll extend the concept to include opera composers.
the relationship that exists between the paintbrush and the canvas relates to that between the musical score and the libretto-story. As soon as the paintbrush meets the canvas and the picture is completed, the relationship between the two elements becomes inseparable. The same thing happens with respect to the music and libretto. In Lucia's case, the action/story takes place in early 18th century Scotland. The association to and connotation of that period relating to Scotland's history is woven into the score/dialogue. Any alteration of that equation does the composer an injustice and a disservice just as it would if an alteration to an existing work would do to the painter who created it.
Oh dear, now the feminists have got hold of poor Lucia - even more madness than the opera itself suggests. As for that appalling set ...