Donizetti’s Lucia di Lammermoor
New York Opera Exchange
February 27, 2015 - Church of the Covenant
Lei: Lucia and Edgardo are in love, but her evil
brother Enrico won’t have it as Edgardo is an enemy of his estate and, most
importantly, he needs his sister to marry a rich nobleman to restore the
family’s finances. Evil brother and his chaplain sidekick do some letter
forging and trick Lucia into believing that Edgardo betrayed her love with
another woman. Lucia is very upset and ends up giving into her brother’s
pressure to marry the rich nobleman. Marriage contracts are signed but, when it
comes to the newlyweds’ first night, the bride goes mad, murders her groom and dies
shortly thereafter in full dementia swing with visions of a happy life with her
true love Edgardo. When the latter hears the sad news, he cannot stand life
without Lucia and kills himself. Curtain.
Lui: Based on Sir Walter Scott’s sprawling novel, The
Bride of Lammermoor, this Donizetti opera packs a lot of quintessential operatic drama into a tight little package, with a complex score laden with beautiful bel canto. Amazing singers always make a
difference, but even more so in an opera like Lucia, which cannot really
be done successfully with just mediocre singers. This is after all an opera
that has for years served as a vehicle for gifted singers, sopranos, in
particular, though the tenor role is also showcased.
Sarah Beckham-Turner |
Joseph Michael Brent |
Alternate cast NYOE promotional material Photo credit: Jiyang Chen |
John Viscardi |
Lei: Baritone John Viscardi as Enrico was by far my favorite singer on stage. True, I have a thing for mellifluous baritones playing evil characters, but Viscardi was next level. Smooth, musical, deep and dark, even snarling at times. His opening aria Crudel funesta smania and the Act III duet with Edgardo were the best moments of the evening. His singing is vigorous, fluid and agile. Viscardi’s acting was spot on too, with an intense and commanding stage presence. Truly a pleasure to hear and see, this is a young artist to closely follow.
Alternate cast NYOE promotional material Photo credit: Jiyang Chen |
Lei: Bass-baritone Antoine Hodge as the scheming chaplain was also solid, his Cedi Cedi very musical, and his recount of Lucia’s madness moving. Mezzo Chelsea Laggan had a minor role as Lucia’s confidante Alisa but sang it accurately and expressively. We discovered her in Die Fledermaus where she played the more comic role of Prince Orlofsky and it was a pleasure to see that she can as easily and effectively portray a tragic Donizetti bel canto character.
Chelsea Laggan Photo credit: Jiyang Chen |
Lui: If nothing else some attention to setting more
the scenes could have contributed to the storytelling aspect of the
performance, which needed just a little livening up. Though it really is about
the music and what a pleasant surprise it was that the music was delivered so
impressively by this cast. It is clear that the company is limited by the
minuscule size of the stage. In scenes when the chorus is out there too, there
really isn't much space for anything else. Solid singing that is bolstered by
solid acting is enough for me to elevate a show like this from the level of a
mere recital to that of a staged production. And these young singers had some
pretty solid acting chops when it came to that.
Alden Gatt |
Lui: I was actually glad to hear the orchestra
playing all out. I felt like it gave the singers a chance to really go big. And
all of the principals were strong enough to sing out over the orchestra. Rarely
were they ever drowned out by the orchestra, which was remarkable. It is not a
bad makeshift space for an evening of opera. Something more comfortable with a
better balance between orchestra and singers, stage and audience could work
better. Not only does the orchestra take up a third of the house but as it is
the conductor becomes a bit of an obstacle for viewing the action on the stage
from time to time. I would love to see the NY Opera Exchange find a place where
they can spread their creative wings a bit more. They have incredibly well
developed marketing and branding, their promotional photos have dramatic vision, and their website is first class, with character studies and informational materials to lure even the more reluctant contemporary opera virgin to the medium. They deserve a stage where they can realize a
similar level of production values for their shows, a space capable of more
nuanced lighting perhaps or one that opens up possibilities for staging a
spectacle that matches their solid musical talent.
- Lei & Lui
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