The brass section was especially fine with restrained but burnished sounds, as were the woodwinds. Maestro Benini began the overture with a deliberate but never plodding tempo, and, with appropriate pauses, gradually built the volume and complexity of the score. The overall musical structure of the opera as well as its subtleties and nuances was brilliantly realized by the Met Orchestra under a strong leadership of Maurizio Benini. The opera is almost sonata-like in structure, with Lucia’s mad scene in Act III an intriguing interlude. The open outdoor settings represent genuine human feelings of love and death, while the closed political world of family feud and intrigue largely takes place inside the Lammermoor Castle.ĭonizetti composed the music of Acts I and III representing human love with more lyricism and tenderness, while the music of the middle act is filled with tension and violent outbursts. The opera begins and ends in an outdoor setting, first in the woods where Lucia meets her lover Edgardo secretly, and the burial grounds of Edgardo’s family where he ends his life. The production is relatively simple, and save for a few unnecessary details such as a photographer at Lucia’s wedding and a doctor at the end of Lucia’s mad scene, efficiently tells the tragic tale of a young woman torn by the political conflict between her brother and her lover. Zimmerman moves the setting of the opera, based on a novel by Walter Scott on events in early 18th century, to the 19th century. The success on the opening night is largely due to the great ensemble work by the principal singers, chorus and orchestra together they brought out the drama and beauty of the music, allowing the audience to savor a genuinely satisfying night at the opera.
The production of Donizetti’s masterpiece Lucia di Lammermoor by Mary Zimmerman returned to the Met with a solid male cast supporting Albina Shagimuratova, making her role debut at the house.
0 kommentar(er)
