Lyric’s ‘Lucia di Lammermoor’ is magnificent
By Betty Mohr Opera Review/bettybmohr@aol.com October 26, 2011 3:30PM
Lyric Opera of Chicago's "Lucia di Lammermoor" features Susanna Phillips in the title role. | Rich Hein~Sun-Times Media
‘LUCIA DI
LAMMERMOOR’
♦ Through Nov. 5
♦ Civic Opera House, 20 N. Wacker Drive, Chicago
♦ Tickets, $44-$229
♦ (312) 332-2244;
lyricopera.org
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Updated: May 9, 2012 9:56AM
“Lucia di Lammermoor” has been given a stunning revival by the Lyric Opera of Chicago.
Aficionados of bel canto and fans of William Shakespeare’s “Romeo and Juliet” will fall in love with this Gaetano Donizetti classic of star-crossed lovers.
The opera, which debuted in 1835, is based on a gothic melodrama by Sir Walter Scott, the Scottish author who wrote romantic novels.
Salvatore Cammarano wrote the libretto after Scott’s 1819 novel, “The Bride of Lammermoor.”
Set against Wilson Chin’s Scottish landscape of rocky crags and stone castles, with Duane Schuler’s shadowy lighting, the production provides a tragic 17th century atmosphere.
With grace and mastery, former diva Catherine Malfitano directs this glorious production, bringing out the best from a superb ensemble.
Rather than beginning with an overture, typical of most operas, Donizetti starts immediately with the gripping story centering on the forbidden love of Lucia and Edgardo.
Edgardo’s family, castle and lands have been stolen by Lucia’s brother Enrico.
When Enrico discovers the affair between his sister and his enemy, he makes plans to wed Lucia to Arturo Bucklaw.
Enrico doesn’t care that Lucia has no interest in Bucklaw. All he cares about are Bucklaw’s political connections that will add to Enrico’s power.
In the middle of the wedding, Edgardo walks in, curses Lucia and runs off, leaving Lucia startled as she goes off to her bridal bed.
While the wedding guests are celebrating, Lucia murders her new husband.
Dressed in a red-stained gown, Lucia descends a steep spiral staircase from her bridal chamber.
As she takes one shaky step after another, singing with every movement, you can hear the audience holding its collective breath.
It’s a scary descent, not only because Phillips is playing a character in a state of madness, but because one wrong move on her part and she could easily fall.
As performed by soprano Susanna Phillips, who becomes a superstar with this portrayal, the horrifying scene recalls Shakespeare’s Lady Macbeth.
Phillips highlights the heroine with so much drama and sings with such emotional power that she mesmerizes the audience.
When she’s on stage one can’t take one’s eyes off her.
The male voices and portrayals also rivet our attention.
Giuseppe Filianoti’s Italian tenor as Edgardo is irresistible. He is convincing as the love of Lucia’s life, and is especially compelling at the tragic ending.
Brian Mulligan offers a wonderful baritone as Enrico, Lucia’s controlling brother.
Tenor Rene Barbera soars as Arturo, the poor man Lucia marries and murders, and Christian Van Horn delivers an exceptional bass-baritone as Raimondo.
Of course, the opera shines with magnificence because of Donizetti’s music.
The Italian composer’s melodies are so delicious that one feels a chill down one’s spine from the opera’s beginning to its end.
In addition, the Lyric Opera orchestra, under the direction of Massimo Zanetti (in his Lyric debut) is perfection itself.
Betty Mohr is a local free-lance writer.
SHOWING SUPPORT
Lyric Opera of Chicago has chapters in which opera lovers of all ages get together to enjoy lectures, musical performances, special events, volunteer opportunities and each other’s company.
Information on the Flossmoor Area Chapter is with president Diane Moses at FlossmoorChapter@lyricopera.org.
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