Pros: The purity and power of Sutherland's voice; the mad scene; Krauss, Elvira, and Plishka
Cons: Not cinematic enough to engage opera novices
The Bottom Line: This is an historic opera performance that will delight opera lovers more than movie lovers in general. Sutherland's rendition of the mad scene is vocal perfection.
Plot Details: This opinion reveals everything about the movie's plot.
This is the eighth in my monthly series of reviews for my twelve favorite video recordings of opera. This is perhaps the least obvious of the selections that I have made thus far. For me, however, Sutherland's performance in the title role of Lucia di Lammermoor represents vocal art at its highest level of perfection and it is for that reason I recommend this recording. There are many operas with more dramatic power. There are certainly operas that place greater acting demands on the singers. There is no other opera, however, that provides a better opportunity for a coloratura soprano to show off. Donizetti's foremost strength as a composer was in creating vehicles by which great singers could exhibit their virtuosity.
Historical Background: Gaetano Donizetti (1797-1848) was a prolific composer despite a relatively short life. He wrote about 65-70 operas, of which Lucia di Lammermoor was approximately the fiftieth. Donizetti was born in Bergamo, Italy on November 29th, 1797. He studied with Mayr at the Naples Conservatory and later with Filarmonico at Bologna. His parents weren't thrilled with the idea of Donizetti devoting his life to musical composition, so he joined the Austrian army and composed during his free time. He completed his first opera, Enrico di Borgogna, in 1818. His fourth opera, Zoraide di Cranata (1822), was successful enough to gain him an early discharge. His first international success came with Anna Bolena (1830), which remains part of the standard opera repertoire to this day. All of Donizetti's best work came after 1830 and include: L'Elisir d'Amore (1932), It Furioso (1833), Lucia di Lammermoor (1835), Roberto Devereaux (1837), La Fille du Régiment (1840), La Favorita (1840), Linda di Chamounix (1842), Lucretia Borgia (1843), Rosamunda d'Inghilterra (1834), Maria Strauda (1833), Gemma di Vergy (1833), and Don Pasquale (1843).
Donizetti composed very rapidly, writing one opera in just nine days and the final act of La Favorita in just a few hours. Donizetti became the professor of counterpoint at the Real Collegio di Musica in Naples in 1835 and succeeded Zingarelli as the school's director two years later. He spent time in Paris, in 1840, after Italian censors prohibited performance of one of his operas in Naples. Donizetti was paralyzed in 1845 and died two years later.
Stylistically, Donizetti's foremost influence was Rossini. Donizetti had a gift for melody and was especially adept at matching the arias of his operas to the vocal qualities of the available soloists. Donizetti's operas were in the bel canto (literally, "beautiful song") tradition, in which the voice is treated almost like an instrument, with first priority given to perfection of tone and legato, and facility with ornamental embellishments (such as trills and runs). Dramatic (i.e., emotional) expression takes a backseat in this tradition to tonal quality. Donizetti's works are neither musically nor dramatically on a par with the masterpieces of, say, Verdi, Puccini, or Mozart, but provide maximum opportunity for coloratura and lyric soloists to strut their stuff.
The Story: The libretto for this opera presents the story in three acts, each with two scenes. The time is the late 17th century. Two Scottish families, the Ravenswoods and the Lammermoors, have been feuding for generations, but the Lammermoors have gained the advantage. Lord Enrico Ashton, the current head of the Lammermoor family has killed many of the kinsmen of Edgardo, the current head of the Ravenswood estate. Enrico, however, made the crucial mistake of backing the Catholic monarch James II in his losing power struggle with William and Mary and their Protestant allies. Now, with William and Mary consolidating their power, Enrico is at risk of being swept aside. His best hope is to marry his sister, Lucia, to Lord Arthur "Auturo" Bucklaw, who is well situated in relation to the new monarchs.
Act I, Scene 1 opens in the "Woods near Lammermoor." A group of Enrico's retainers are searching for an unidentified trespasser. Normanno (John Gilmore), the captain of the guard, awaits Enrico's arrival while the others head out in search of the stranger. Enrico (Pablo Elvira) arrives, complaining about his sister's refusal to marry Auturo. Lucia's tutor, Raimondo (Paul Plishka), suggests that it is because Lucia is still mourning the recent death of her mother. Normanno, however, reveals that Lucia has been seen keeping trysts with a hunter, who Normanno suspects to be Edgardo. Enrico is enraged and all the more so when the retainers return to confirm Normanno's supposition.
Act I, Scene 2 is set in "The castle gardens at Lammermoor." At a fountain near her mother's tomb, Lucia (Joan Sutherland), accompanied by her servant, Alisa (Ariel Bybee), awaits a secret meeting with her lover, Edgardo. Lucia sings ("Regnava nel silenzio") to Alisa about a maiden's ghost that has appeared to her at the fountain to warn her that her love for Edgardo will end in tragedy. Alisa begs her to take heed, but Lucia's passion for Edgardo ("Quando rapito in estasi") is too strong. Edgardo (Alfredo Krauss) arrives and informs Lucia that he must leave for France, for a while, on state business. He wants to ask Enrico for Lucia's hand, but Lucia, recognizing the impossibility of Enrico's consent, swears Edgardo to secrecy. The lovers declare their eternal devotion, seal their pact by exchanging rings, and bid farewell ("Verranno a te sull'aure").
Act II, Scene 1 takes place "In the Lammermoor castle." Enrico and Normanno hit upon a plan to induce Lucia to marry Auturo, who is even now on his way to claim his promised bride. Lucia is shown a forged letter that seems to prove Edgardo faithless. Enrico pleads with Lucia (in the duet "Soffriva nel painto") to marry Auturo to save the family's status. Raimondo then enters and reports that he has sent a letter secretly to Edgardo but has received no reply (the replies were intercepted by Normanno). Lucia, convinced that Edgardo has been unfaithful to her, consents to sacrifice herself in marriage to Auturo ("Al ben de' tuoi qual vittima").
Act II, Scene 2 opens in the "Great hall of the castle." The wedding quests have gathered to celebrate the marriage of Lucia and Auturo ("Per te d'immenso giubilo"). Auturo (Jeffrey Stamm) arrives and pledges to restore the political standing of the Lammermoor family. Enrico attempts to prepare Auturo for Lucia's melancholy by intimating that she still grieves for her mother. Lucia enters and disconsolately signs the marriage contract. No sooner has she done so, than Edgardo barges in, hoping to claim his lover for himself. In a magnificent sextet, Lucia, Alisa, Edgardo, Auturo, Enrico, and Raimondo express their differing emotions. Edgardo is shown Lucia's signature on the marriage contract and becomes enraged, cursing Lucia, removing his ring from her finger, and storming out ("Hai tradito"). Lucia collapses in grief.
Act III, Scene 1, also set in the "Hall of the castle," is this opera's tour de force scene. The wedding celebration is continuing, until Raimondo suddenly enters and calls a halt to the festive mood. He reports that Lucia has stabbed Auturo to death, in their wedding chamber ("Dalle stanze ove Lucia"). No sooner has Raimondo finished describing the terrible scene than Lucia staggers in, holding the knife, splattered with blood, disheveled, and delirious. In the famous mad scene ("Il doce suono"), Lucia sings of her meetings at the fountain with Edgardo, imagining the he and she have married. Enrico rushes in, enraged at what has transpired, but seeing Lucia's condition, can only look on in dismay. Lucia's grows increasing detached from reality, imagines herself in heaven, and finally collapses as though dead.
Act III, Scene 2 takes place at the family "Tomb of the Ravenswoods." Alone among the tombs of his ancestors, Edgardo laments Lucia's unfaithfulness ("Fra poco a me ricovero"). Guests from the wedding pass by and inform Edgardo that Lucia is dying and was last heard calling his name. Before he can rush to her, however, Raimondo arrives to announce that Lucia has died. Resolved to join his lover, Edgardo stabs himself to death ("Tu che a Dio spiegasti l'ali").
Themes: (1) Heed the warnings of ghosts; (2) don't trust incriminating letters handed to you by a person with contrary interests; (3) frisk your new spouse for lethal weapons before entering the bridal chamber on the wedding night, and (4) let your sister marry whomever she wants.
Production Values: The libretto for Lucia di Lammermoor, written by Salvatore Cammarano, was based (loosely) on a novel by Sir Walter Scott (The Bride of Lammermore), which was in turn based on a traditional Scottish story concerning one Janet Dalrymple, who was forced into a political marriage despite her secret engagement to Lord Rutherford. The novel was thoroughly recast in keeping with the requisite conventions of bel canto opera. Each scene had to follow, at least substantially, a four-part structure: (1) a primo tempo consisting of introductory choruses, expository recitative, or a prelude; (2) the andante at a slower tempo, during which one or more characters reflect on the situation; (3) a tempo di mezzo in which drama is elevated by a chorus, an ensemble number, or the arrival of news; and (4) a cabaletta (if a solo or duet) or a stretta (if an ensemble), designed to generate dramatic tension and ensure audience approval. The overall structure of the opera had to be designed to provide the required number of arias for each of the main characters and a major showpiece for each star shortly after his or her entrance.
This performance of Lucia di Lammermoor was staged at the Metropolitan Opera House in New York City on November 13th, 1982. Joan Sutherland made a triumphant return, that evening, after a four-year absence from the Met and reprised the role in which she first gained international attention. She first sang the role in 1959 in Covent Garden. It was also the role that she chose for her first appearance at the Met in 1961 and it is widely considered to be her signature role. The opera's highlight is the mad scene, which is probably the single most famous example of its kind in all of opera and, possibly, all of literature. Toward the end of the scene (chapter 28 on the DVD), Sutherland engages in what might be called a "contest" with a flute, echoing, at times, the elaborate flute trills and performing in unison with it, at other times, so that listeners are left marveling at the phenomenal tonal purity of both the flute and Sutherland's angelic voice. There is really nothing else quite like this "duet" anywhere else in the operatic repertoire.
Kirk Browning, the director for this rendition of the Donizetti masterpiece, was born in 1921 in New York City. He has made a career in television as a director of operas and plays, with more than fifty credits, dating from 1950-2000. Richard Bonynge, who conducted the Metropolitan Opera House Orchestra, is a conductor of worldwide renown. The Met is known for its elaborate sets and costumes, both of which were provided, in this instance, by Attilio Colonnello.
Lucia di Lammermoor was the second opera ever staged at the Met. In every generation since Donizetti first launched this opera, the role of Lucia has belonged first and foremost to one particular diva. It's not a role that can be sung by just any great soprano, because of the coloratura demands. Nellie Melba was the great Lucia of the 1880's, then came Marcella Sembrich, who owned the role from about 1890-1910. Later it was Amelita Galli-Curci. Lili Pons was the leading Lucia for three solid decades, from the thirties through the fifties. Since 1959, however, no one has sung the role as well as Joan Sutherland, whose incomparable voice combines the clarity of a flute with the power of a trumpet.
Alfredo Krauss, who sang the part of Edgardo, is a world-class tenor. Baritone Pablo Elvira does a superb job as Enrico. Paul Plishka, who played Raimondo, was the regular lead bass at the Met and appeared in major opera houses throughout North America and Europe. The magnificent harp solo at the opening of Act I, Scene II was provided by Claude Hill and the flute accompaniment for the mad scene by Michael Parloff.
Bottom-Line: This is the least "cinematic" of the operas that I have reviewed thus far, being a video recording of a live stage performance at the Metropolitan Opera in New York. I don't recommend this opera as an entry point for novices wanting to test the operatic waters, so to speak, because this recording's great strength is elevated vocal virtuosity, but its weaknesses are in those categories that movie lovers (as opposed to opera lovers) depend upon: drama, acting, and that part of casting which has to do with physical appearance. I do, however, highly recommend this opera, and this particular recording of it, for those with an established taste for opera.
The joy in this particular opera is far more aural than visual. If you have a love for opera music and the human voice as a musical instrument, you won't find a more glorious example of pure vocal art than Sutherland's rendition of the mad scene. That assumes that you have playback equipment that can do as much justice to the audio track as the video. Otherwise, those already familiar with the libretto of Lucia di Lammermoor will do just as well listening to an audio recording of the opera (provided that it features Sutherland). This recording can, however, provide a convenient means of familiarizing yourself with the opera's story while enjoying the great music. You won't find a better rendition of this treasure.
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