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Edit Release Sell This Item. Tracklist Prelude and introductory chorus "Search through the neighbouring shores Barcode Human Readable : 8 6 Barcode Scanned : Add Review. Add a Video. Add to List. Prelude and introductory chorus "Search through the neighbouring shores Scene and Cavatina "You are disturbed Larghetto "You have aroused Coro di Cacciatori "Once and for all Allegro moderato "Pity for her vainly Scene and Cavatina "He still has not come!

Larghetto "The deep, dark night brooded Although this brilliantly suggests the dynamics of young love, it shifted the parameters of their relationship to the extent that Lucia seemed extremely needy and Edgardo rather less keen. Given that his ardour is such that he goes on to kill himself at the news of Lucia's demise, I didn't feel this accurately captured the spirit of the characters or their relationship with each other.

Humbled and Overwhelmed: Lucia di Lammermoor - Dessay returns, Calleja triumphs

Other scenes, such as the opening outside Lammermoor Castle, scarcely seemed to have been directed at all. The gentlemen of the chorus were left with nothing to do but stand in an evenly distributed rabble, and Mariusz Kwiecien , apparently in the absence of having been given any better ideas, ended up delivering large parts of Enrico's aria front, centre stage, with his arms outstretched, a stand and deliver approach which ceased to be the norm in opera productions quite some years ago.

'Lucia di Lammermoor' at Metropolitan Opera - Review - The New

The same thing happened to John Relyea in Raimondo's aria in Act III, Scene 2, and it is difficult to see what his alternative was, since he was getting next to no response from the chorus to the shocking events he was relating. Zimmerman does appear to have paid significant attention to the chorus during the Sextet in Act II, Scene 2, where they have the function of acting as gossips, observing what should be a tense dramatic situation following the sudden entrance of Edgardo after Lucia has signed her marriage contract with Arturo.

Unfortunately, tension is lacking from this scene owing to some very distracting staging. Although I do think having a photographer at the wedding is an idea which could have worked very well, the decision to use it during the sextet was misguided. Given what we have seen of the hot blooded Enrico and Edgardo in the preceding scenes in the drama, the likelihood of their having enough passivity to submit to a photo shoot at this point is low, and the absurdness of the situation robs the music of its emotional punch. Other controversial ideas definitely did pay off.

Notes and Editorial Reviews

Zimmerman's great strength with Lucia appeared to be getting the coloratura to mean something. Initially, I was disappointed with Natalie Dessay in the title role , who seemed disengaged with the dramatic situation.

But in the cabaletta to the entrance aria, the coloratura was used to express girlish joy, to get at Alisa, and gradually turn her around to Lucia's way of thinking, so that she did eventually relent and allow Lucia to delight in her love. Michaela Martens , as Alisa, acted superbly to allow this to come across. Inevitably, it was the mad scene where Zimmerman and Dessay created their best work.

And to hear a voice of that amplitude in this music is virtually without precedent, in particular notes above high C with the fullness of tone that Sutherland produces.

Callas is, of course, sui generis , coloring and inflecting the role as no other singer has. I like her first EMI studio recording with Serafin and the Karajan-led Scala performance in Berlin; in both cases, di Stefano is another huge asset. Cappuccilli adds value, and it too is uncut. Sills and Scotto both found ways to manage to combine the sheer pleasure of vocal display with dramatically meaningful and insightful portrayals.

Listening again to Sills, one is first impressed by the variety of color she does apply to the voice to reflect the dramatic moment.

It is not as rich a range, nor as thorough, as Callas, but it is quite effective and specific. I found myself falling in love with her recording all over again. There is a sense that the vocal gestures are applied from the outside, rather than being deeply felt in the gut.

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There is a monochromatic aspect to her performance that becomes more evident on repeated hearing. I wonder if the problem is less Dessay than the overall atmosphere of this recording, which I would describe as highly accomplished but rarely causing a thrill. Gergiev does not infuse the score with too much Russian weight; things move along at a reasonable clip and phrases are well shaped.

But the rhythmic pulse is often slack, the line sags in places, and the whole thing has about it the feel of too much care and not enough abandon.

Donizetti: Lucia Di Lammermoor / Dessay, Beczala, Gergiev

There is nothing fussy or wrong-headed about the conducting, but it seems to me too controlled, or perhaps controlling. It is easy to focus on the soprano in this opera, but in fact Donizetti did not, at least not when all the traditional cuts are opened and we hear his whole work. Many of the cuts that started coming into practice even in his time were made at the insistence of sopranos who wished to aggrandize themselves, and the result was the elimination of much of the music for the men.