The Met: Lucia di Lammermoor with Natalie Dessay.
For the label s fifth opera, Gergiev conducts Donizetti s masterpiece Lucia di Lammermoor with a magnificent cast led by Natalie Dessay. Donizetti s tragic opera depicts a family feud set in the Lammermuir hills of Scotland. Inspired by Sir Walter Scott s novel The Bride of Lammermoor, the central character of Lucia Ashton is torn between her family and true love and eventually descends into.
Natalie Dessay is a known quantity as Lucia: sensitive, fragile, using her small but colorful voice and sharp diction to show us poor Lucia’s plight. And indeed, her Mad Scene is marvelous, with the glass harmonica adding just the eerie touch Donizetti had hoped for. Dessay is just as fine in her confrontation with her brother at the start of Act 2, sounding like a wounded creature on the.
Dressed down, rather: this isn't just Lucia di Lammermoor translated into French - Donizetti's been at it with a pruning knife, and we've even lost the role of Alisa (Lucia's maid).so our tragic.
The Met’s “new” production of Lucia di Lammermoor, which happily replaced Francesca Zambello’s catastrophic staging (coffins everywhere) late in 2007, has been updated by Mary Zimmerman to a ghost-filled Victorian era. The ghosts are both of family histories and manifestations of a disturbed mind.
Lucia di Lammermoor by Gaetano Donizetti is an opera seria in three acts. This bel canto piece marked the birth of the Italian Romantic Movement. The storyline of this opera is based on Walter Scott’s novel, The Bride of Lammermoor, written in 1819. Donizetti changed only a few of the characters’ names. Elements of Gothic style can be found in Lucia di Lammermoor. In the 19th century in.
Lucia di Lammermoor The Met debut of soprano Joan Sutherland was one of the great evenings in the history of the company, and this broadcast, recorded only a few days after that memorable first night, captures the near hysteria that Sutherland’s spectacular performance unleashed.
Just a quickie from the openimg night of Lucia di Lammermoor at the San Francisco Opera, where after a wobbly start Natalie Dessay stormed through the title role, every note in place, with exquisite poise and total control. If she (surprisingly) wasn't 100% convincing dramatically, that was down to the production, curiously static, rather undirected, set entirely on a heather carpeted.