Lucia, love and madness
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Published: May 9, 2009
The Opéra de Montréal brings its 29th season to a close a true bel canto masterpiece, “Lucia di Lammermoor” by Gaetano Donizetti. The Italian composer’s most famous tragedy, “Lucia” remains a favorite of opera-going audiences. To bring to life this emotion-filled dramatic love story — one need only think of Lucia’s over-the-top mad scene.
The Opéra de Montréal cast featuring two rising stars of the international opera stage in the lead roles: Cuban coloratura soprano Eglise Gutierrez as Lucia, and American tenor Stephen Costello as her lover Edgardo. Shining masterfully in bel canto heroine roles, Eglise Gutierrez, for whom Lucia has become a signature role, was recently named “Artist of the Year 2009” at Finland’s Savonlinna Opera Festival. Completing the cast in this production from the Dallas Opera are baritone Jorge Lagunes (Enrico), bass Alain Coulombe (Raimondo), tenor Antoine Bélanger (Arturo), bass-baritone Pierre-Étienne Bergeron (Normanno), and mezzo Sarah Myatt (Alisa).
Stage direction is by David Gately; lighting is by Anne-Catherine Simard-Deraspe. American conductor Steven White leads the Orchestre Métropolitain and the Choeur de l’Opéra de Montréal.
“Lucia di Lammermoor” is certainly a spectacular opera, and it is easy to understand why it has remained a part of the repertoire since its premiere in 1835, beloved by opera fans around the world despite its dark subject matter. All of the action takes place against a backdrop of feuding rival families, and within the context of the wars between Catholics and Protestants. The libretto is adapted from Walter Scott’s novel “The Bride of Lammermoor” (1819), which was inspired by an actual incident that occurred in 17th century Scotland, in which a young noble woman murdered her detested husband on their wedding night, and went insane after committing the crime.
In “Lucia di Lammermoor,” Donizetti’s genius is manifest in the work’s solid dramatic construction, as well as in its sumptuous melodic richness. Through his music, Donizetti succeeds in depicting the characters, which have become archetypes of both bel canto and romantic Italian opera. Written in six weeks during a very prolific period in the composer’s life, “Lucia” finely balances highly virtuosic singing with steady drama. And while the work peaks in the third act with Lucia’s famous “mad” scene — requiring great technique, flexibility, and agility on the part of the performer — Donizetti sustains the dramatic intensity through the vocal ensembles (notably, the second act’s final sextet) and choruses.
Opéra De Montréal 2009-2010 Season
Puccini: “Gianni Schicchi”/ Leoncavallo: Pagliacci (Double bill): Sept. 26, 30, Oct. 3, 5, 8, 2009 at 8 p.m.
Mozart: “The Magic Flute” – November 7, 11, 14, 16, 19, at 8 p.m.; Nov. 21 at 2 p.m.
Puccini – “Tosca” 30th (anniversary production) – Jan. 30, Feb. 3, 6, 8, 11, at 8 p.m.; Feb. 13, at 2 p.m.
Verdi: “Simon Boccanegra” – March 13, 17, 20, 22, 25 at 8 p.m.
Massenet: “Cendrillon” – May 22, 26, 29, 31, June 3 at 8 p.m.
Le Gala: 14th edition – Dec. 6 at 2 p.m.
Atelier lyrique de l’Opéra de Montréal: Gagnon/Tremblay: “Nelligan” –March 6, 8, 10, 11, at 8 p.m.; March 13 at 2 p.m.
Tickets start at $46; call Place des Arts Box Office, 1-866-842-2112, or go online to www.operademontreal.com.