By Diego Manuel García Pérez.
The six performances of Lucia di Lammermoor that have taken place in the Palau de les Arts, They have resulted in a major victory. this opera, true paradigm of bel canto repertoire, and it was represented at this theater, in 2010, with great success, especially by the presence, so, young Georgian soprano Nino Machaidze and Italian tenor Francesco Meli. The performances this year have fallen short of those, especially for the excellent performances of the Anglo-Australian soprano Jessica Pratt, Chinese tenor Yijie Shi and Alexander Vinogradov Russian bass, next to the magnificent performance of the Orchestra of Valencia, directed by Roberto Abbado, who he was dismissed as musical director of the Palau de Les Arts, after good work, not always recognized. Another attraction of this Lucia is the -Fortunately- suitable scenery to the time when the action unfolds. Y, as, the magnificent performance of the Choir of the Generalitat, which again showed his quality. An enthusiastic audience applauded at length and with great force at the end of representations.
Lucia di Lammermoor is the most famous opera by Gaetano Donizetti, whose prolific output ranks forty-seven of a total sixty-six titles, with scores preserved. Year 1835 It was especially important to the world of opera, since the 24 premiered January I Puritani, the last opera by Vincenzo Bellini, who died in 23 September of that year, just three days before the premiere of Lucia di Lammermoor, Teatro San Carlo in Naples. Salvatore Cammarano then artistic director of this theater, It was commissioned by Donizetti to write the libretto, which it was based on the novel The Bride of Lammermoor by Walter Scott, published in 1819, and which is recounted real facts occurred in August 1668, where Scottish aristocrat had forced his sister to marry another noble; she was in love with an enemy of his brother, tax stabbed her husband in the wedding night, for then mad. Unlike the novel and opera, the husband survived and imposed absolute secrecy family about everything that happened. However there were all sorts of speculation and history is kept alive by family tradition and was known by Walter Scott to write his novel. Premiere, Lucia di Lammermoor had extraordinary success that has been lasting until today. The first Lucia was interpreted by Fanny Tachinar-Persiani, one of the most famous sopranos of the era whose tessitura of lyric-light, It allowed him to make a full vocal and interpretive display at the big scene of madness, one of the great landmarks of the bel canto repertoire all. Edgardo's role was played by the great tenor Gilbert Duprez, the first to issue the famous C4, with chest voice.
For many years the character of Lucia was interpreted by voices in slight excess, more concerned exhibit vocal virtuosity, to the extent not interject cadences written by Donizetti, for lucimiento. Ya, in the twentieth century, There sound documents light sopranos interpreted Lucia: Maria Barrientos, Amelita Galli-Curzi, Mercedes Capsir (entity with greater vocal, and interpreter in 1929, the first studio recording of this opera), and especially the Franco-American Lily Pons, tiny voice, nice and penetrating timbre, with excellent projection, causing her to succeed in the old Metropolitan, large theater in which his voice expanded easily and where was the official Lucia since its debut, in 1931, until his last performance, in 1958, in both cases with that character, who would play in almost one hundred fifty performances. Lily Pons was able to perform true vocal prowess with absolute mastery of coloratura and superb upper register which held, easily, a stratospheric note as MI5. Lily Pons Lucia played with all the great tenors of his time: Beniamino Gigli, Giacomo Lauri-Volpi, Giovanni Martinelli y Francesco Merli, with younger voices like Ferruccio Tagliavini and Giuseppe Di Stefano; Y, especially, with American Jan Peerce and Richard Tucker, with whom he made a recording studio, in 1954. It can be heard on Youtube, in different interpretations of the scene of madness, as well as his great duet of Act I Edgardo, recorded in 1950, next to the beautiful voice of Giuseppe Di Stefano. As well, in Act II duet with Enrico, played by the great baritone Leonard Warren. Y, a curiosity, You can also hear full on Youtube, a shot live from Fort Worth (Texas, USA), in 1962, where a Lily Pons, virtually retired from the stage, sharing deal with a very young Placido Domingo twenty-one, which it offered its beautiful timbre and interpretive capacity.
In 1952, Maria Callas first he performed by the Edgardo Lucia Di Stefano Giuseppe, at the Teatro Bellas Artes in Mexico City, reinventing the character, giving it a dramatic entity hitherto unknown, based on his extraordinary theatrical ability, keeping the vocal virtuosity, within the concept of dramatic soprano of agility. two studio recordings made by EMI preserved: the first, in 1953, with the singer at his best vocal moment, junto a Giuseppe Di Stefano y la Orquesta de Maggio Musicale Fiorentino, directed by Tullio Serafin, and the second, in 1959, with the Philharmonia Orchestra, also directed by Tullio Serafin, next to Ferruccio Tagliavini Edgardo, with singer and vocal worse conditions, giving a view, at times, intimate and heartbreaking character. It should be noted between the two recordings live a shot, held in Berlin 29 September 1955, He has entered fully into the mythology of the world of opera, where Callas offers its magnificent vocalism, with an impressive dramatic performance, masterfully directed by Herbert von Karajan, in front of the RIAS Orchestra Berlin, producing a real symbiosis between director and singer; here again with Di Stefano and Giuseppe Enrico magnificent baritone Rolando Panerai Great. The famous sextet at the end of Act II, before the continuous applause, It is byssate. This recording can be heard entirely in Youtuve.
Callas's witness picked him up the great Australian soprano Joan Sutherland, wide center, good range of serious and extraordinary capacity for coloratura, with a perfect treble and treble emission, but not have the dramatic ability to Callas. He first performed at Covent Garden Lucia, in 1959 (you can hear full on Youtube, live a take those representations) and maintain the role in his repertoire for thirty years, being who more times it has played, over two hundred representations, with large Edgardos as Alfredo Kraus, Luciano Pavarotti y Carlo Bergonzi. Highlight their studio recording for Decca, in 1971, Luciano Pavarotti alongside a at its best, displaying his beautiful vocalism, Enrico powerful Sherrill Milnes and the magnificent and expressive interpretation of Nicolai Ghiaurov, como Raimondo, directed by Richard Bonynge leading the Orchestra of the Royal Opera House. Ya, at maturity, He participated in a series of performances at the Metropolitan, in 1982, directed by Richard Bonynge, Edgardo next to Alfredo Kraus, vocalism and flawless performance style. One of those representations was taken in video and DVD marketed by Deutsche GRAMMOPHON. Parallel to the performances of Lucia made by Sutherland, Creations include two other sopranos magnificent: Renata Scotto and American Beverly Sils, in the sixties and seventies of last century, Also alongside Pavarotti Edgardos, Kraus and Bergonzi. Later, They also made good creations Lucia, Edita Gruberova y June Anderson, although lower than sopranos aforementioned. It should be noted that in the last ten years has been Jessica Pratt, who very brilliantly he interpreted more times Lucia, with almost one hundred fifty performances.
The scenic proposal that has been seen in Valencia, It is a coproduction of the Monte Carlo Opera and the New National Theater in Tokyo, directed by Jean Louis Grinda. The sets designed by Rudy Sabounghi, are classic character, in line with the time the action takes place in the late seventeenth century. In the first scene it can be a great surrounded by water and cliff near a beach where Enrico Ashton move with several soldiers and his henchman Normanno, who he says mischievously has been seen prowling around a stranger, with all the appearance of being Edgardo di Ravenswood, the great enemy of Enrico Ashton. Decorated for changes repeatedly inserted a projection of a cliff, in beating the waves can be heard its maritime sound. In the second scene, the secret and passionate encounter Lucia and Edgardo occurs in the presence of Alisa, the chaperone Lucia, in a rocky enclave, where an old source is located, a painted background where menacing silhouette of the castle of Ashton Everyone appears sinister premonition! Act II, It takes place in a set that reproduces the great hall of the castle Ashton, and whose first scene are Lucia and his brother Enrico, who convinces with bad arts to marry his rich friend the noble Arturo Bucklaw; Y, Castle chaplain Raimondo Bidebent, friend and confidant Lucia, It advises her to accept the proposal of his brother. In the second scene, number of richly attired guests (excellent costume design by Jorge Jara) They sing and dance celebrating the upcoming marriage bond; Here you can be seen the successful stage direction by Jean Louis Grinda, moving many extras. The unexpected appearance of Edgargo, encourages the brilliant sextet Lucia, Edgardo, Enrico, Raimondo, Alissa y Normanno, where, in a different plane dramatic, each expresses his feelings, scenically very well resolved by Grinda. In this production, at the beginning of Act III, the scene of the tower is included, also with maritime background, which often often it omitted to avoid another change of scenery, and actually breaks the dramatic continuity and is only for the brilliance of tenor and baritone. Here the tense meeting Edgardo and Enrico occurs, can be a tower in ruins, whipped by the waves. In the second scene reappears the great hall of the castle where the wedding guests celebrated by; the celebration is suspended by the presence of Raimondo, who announces the tragic news of Arthur's death at the hands of Lucia in the marriage bed. The ghostly appearance of Lucia, with bloodied wedding dress, begins the famous mad scene; Here one of the best scenic moments of this production occurs, when Lucia, evocative mode, takes up the main theme of his great duet with Edgardo, back into the hall of the castle, the decoration of the fountain scene. At the conclusion of the opera a strongly romantic landscape shown, with maritime cemetery where lie the ancestors of Edgardo, who commits suicide after watching the funeral procession with the body of Lucia, in this case throwing vacuum from a cliff.
Roberto Abbado was leaving the Palau de Les Arts directing this Lucia, a work that deserves all kinds of praise, getting from the same excellent sound opening with an imposing presence of the fallopian, they will have great prominence throughout the opera. Bellísimo was the orchestral accompaniment throughout the grand Lucia and Edgardo duet of Act I. Brilliant orchestral sound throughout Act II, in the great duo Lucia and Enrico and, especially, in the wedding scene with the combination of orchestra and choir, which reaches its climax in the famous sextet and the closing stretta. Magnificent orchestral performance, at the start of Act III (Tower Scene), playing a storm in conjunction with the sound of a raging sea. Excellent entering the final scene of the opera with a funeral chords heralding the tragic events to be produced. In the famous mad scene used the glassarmonica (glass harmonica), that could be heard when the play premiered Donizetti. It is an instrument created by Benjamin Franklin in the mid-eighteenth century, formed by a set of glasses and glass tubes, on a wooden base, emitting a characteristic sound, to seek frotadas. Very lucida intervention Sascha Reckert, a specialist of this instrument, in the accompanying Jessica Pratt, He managed to extract spectral sounds, in perfect conjunction with the voice of soprano. Apart from the great performance of the four horns, Noteworthy is the large harp solo intervention before the first stage appearance of Lucia, In the second scene of Act I. Excellent performance of the cello accompanying the intervention of Edgardo around the end of the opera. Emphasize the conciliatory work of Roberto Abbado very aware of the voices, highlighting its great rapport with Jessica Pratt who had directed in this role on several occasions.
Great performance by Jessica Pratt, showing timbral beauty and great stylistic mastery of the bel canto repertoire, with an excellent line of singing and great ability to link long sentences. Highlighting his mastery of the middle voices and sound regulations. Domain displays all records, with color homogeneity. They are spectacular and its sharp treble. Y, especially, It offers a perfect execution of agility from his first aria "Regnaba nel silencio" followed by the cabaletta "Quando, rapito in estasi "introducing variations in their repetition virtuosic. then, its interpretation will crescendo in the beautiful duet with Edgardo, especially in its final section whose recurring musical motif reappears on the scene of madness, where the soprano offers an impressive resolution of coloratura. Excellent Chinese tenor Edgar Yijie Shi, with great stylistic mastery and excellent singing line, although its timbre is not too attractive, It's a great singer, It is offering an intense phrasing and contrasted, with great mastery of all records, exhibiting a magnificent acute strip. Excellent interpretation of the great duet with Jessica Pratt. It stands out greatly, in his final scene giving his singing pathetic accents. It is also magnificent in his duet with Enrico Ashton played by baritone Alessandro Luongo, whose voice performance is well below the main characters, with little command of bel canto style. A real shame, because Enrico is a character for baritone absolute brilliance, with great moments like his big scene at the start of the opera or the great duet with Lucia Act II, where, compared with the performance of Jessica Pratt, They can be checked all its limitations. Excellent Russian Alexander Vinogradov low as Raimondo, offering a powerful vocalism, highlighting the duet with Lucia and especially in his great solo intervention "Ah! Cease that happy ". Excellent performance of the young Basque tenor Xabier Anduaga as Arturo sposino, whose magnificent vocalism augurs a bright future career. Bien half the rusa Olga Syniakova, as Alisa. Correct the tenor Alejandro del Cerro as Normanno. Magnificent interpretation of famous sextet followed by "stretta", which he concludes Act II, where the voice of Jessica Pratt, emerges strongly from the chorus and solo voices.
The Choir of the Generalitat offered, a great performance, especially in Act II, where his performance shone high, as well as the introduction of the mad scene, and around the end of the opera. Anyway, Lucia di Lammermoor one to remember.