“Lucia di Lammermoor” by Gaetano Donizetti
Central City Opera Review
The opening performance of the 2009 Central City Opera season was a magnificent version of Donizetti’s Lucia di Lammermoor. It is a work that features all the joys and difficulty of bel canto (beautiful singing), and a classic unbelievable story with great emotion and passion. The music perfectly underscores the drama, and the performance lives up to it all.
Lucia, as portrayed by Lyubov Petrova, sings with passion and great facility. She is one of the finest voices to grace the CCO. The famous arias of the opera are dependent upon her, and she certainly lives up to the task. Her mad scene duet (with flute almost perfectly timed and played by Jessica Warren-Acosta) was beautifully done. In the sextet she rises from her faint in the middle of the stage to soar above all the other singers, without over balancing them. Her vocal range is impressive, and makes the most of Donizetti’s music. We especially enjoyed her quiet high notes, not an easy task. She also has great dramatic and commanding presence which her face and eyes reflect.
Equally impressive, as usual for this frequent Central City performer, was Grant Youngblood in the role of Lucia’s brother. His motives in the opera story, self-preservation at all costs, are not noble, but he brings dignity as well as passion to the role. When Lucia, in her madness, mistakes her brother for her lover and kisses him, he responds with understanding and horror. His voice has matured beautifully and he also has a commanding presence on stage.
Another Central City regular and favorite is Vale Rideout, who portrays Lucia’s lover, Edgardo. His beautiful tenor voice is an excellent match for Lyubov Petrova. He managed to portray the ardent young lover both tenderly and passionately. If Edgardo had been able to carry out his original plan to marry Lucia, all would have been well. But the star crossed lovers, like Romeo and Juliet, are fated for disaster from the beginning by the animosity of their families. But then had he just married her in the first act, we would have lost a lot of beautiful music.
One of the joys of Central City performances are the excellent young singers who are in the Apprentice Artist program, but are asked to perform as equals to the long time professional singers. One of these is Valerie Hart Nelson, who plays Alisa, Lucia’s maid and confidant. She seems completely comfortable with the role.
Another Apprentice Artist is James Barbato who plays Normanno, Enrico’s sidekick, and does an excellent job of it. Andrew Owens, as the arranged marriage suitor of Lucia, has a good voice, and the proper air of pomposity for the role.
Richard Bernstein, as the misguided Chaplain Raimondo, is another star of the opera. He intervenes and tries to smooth things over, and generally is ineffective in terms of the plot, but his performance is very well done. Dramatically his is a difficult role, because he tries to mediate, and never quite succeeds. Musically he has a lot to work with, and his bass-baritone voice did it well.
The biggest star of the opera is probably the music. The story doesn’t make a whole lot of sense for the average current listener, but the music is sublime. This is an opera that asks that its performers be consummate musicians, and the cast was certainly up to the challenge. The orchestra plays a major role also by its setting the moods and emotions that the principals carry out. Conducted by John Baril, it was excellent. The opening chords were way too loud, but a better balance was achieved quickly. One really beautiful portion was the harp setting the mood for the second scene of the first act. Played by Janet Harriman, it was truly a musical gem, as well as an effective part of the opera. Kudos to both the performer and the composer.
The new sets, designed by Wilson Chiu, the new costumes, designed by Teresa Wadden, and the lighting designed by David Martin Jacques, had a lot to do with the success of the opera performance. Lucia’s mad scene, with its precarious staircase, really had an impact. When Arturo showed up to marry Lucia in a bright red tartan and a fur draped over his shoulders, the conflict of desires and practicality was really obvious. Lucia’s bright red wedding gown and tartan showed her to be separated from everyone else, except her future husband.
The plan for the CCO is each season to perform one audience favorite, one unfamiliar work, and one American work. Lucia is the audience favorite for this year. The amazing thing is that it is so well carried out that it seemed almost new, even with the beautiful and familiar arias and the well known sextet. Next comes A Little Night Music, beginning July 4th, and the unfamiliar work Rinaldo, beginning July 11. Lucia should not be missed. Chances are A Little Night Music, and Rinaldo will be equally memorable.