The costumes and sets are both sumptuous and atmospheric, with Netrebko looking very striking in her Mad scene, and the picture quality is clear and camera work interesting. There is no doubt the music is brilliant, and the orchestra, chorus and conducting do justice to this score wonderfully, with the sound fully complimenting. That saddens me because the Met are mostly very consistent, with almost all of them ranging from good to truly outstanding. I'd go as far to say that of the Lucias I've seen this one is my least favourite. This Met production is not a complete disaster, as there are some very good things, but I found myself very disappointed. The story is good and compelling, one of the better stories with Donizetti's music set to it, and the music is magnificent with the highlights being the Sextet and the Mad scene. Riccardo Frizza conducts, with a light touch that sometimes goes slack.I love opera and Lucia Di Lammermoor is not quite among my favourites but of the Bel Canto repertoire it is a masterpiece. Sierra’s rich soprano sounds captivating in this music, imbuing it with a warmth that makes Lucia’s pain all too real. When Lucia understands, too late, what’s happened, she sings the most famous mad scene in all of opera-a twenty-minute virtuosic display often handled by sparkly voices.
Stone’s onstage film crew and overly enthusiastic use of the Met’s revolving platform immerse viewers in a forgotten, economically distressed town in the Rust Belt, where Nadine Sierra’s good-hearted Lucia is tricked by her sleazebag brother (Artur Ruciński’s elegantly sung Enrico) into thinking that her beloved (Javier Camerana’s tender Edgardo) has abandoned her. In the Metropolitan Opera’s new production of “Lucia di Lammermoor,” the director Simon Stone parses the forces that drive Donizetti’s tragedy-financial desperation, familial abuse, clan conflict-to create a modern-day staging with uncomfortably acute resonances.
0 kommentar(er)
