Lucia di Lammermoor - Wikipedia. Lucia di Lammermoor is a dramma tragico (tragic opera) in three acts by Gaetano Donizetti. Salvadore Cammarano wrote the Italian language libretto loosely based upon Sir Walter Scott's historical novel The Bride of Lammermoor.[1]Donizetti wrote Lucia di Lammermoor in 1. Gioachino Rossini had recently retired and Vincenzo Bellini had died shortly before the premiere of Lucia leaving Donizetti as "the sole reigning genius of Italian opera".[2] Not only were conditions ripe for Donizetti's success as a composer, but there was also a European interest in the history and culture of Scotland. The perceived romance of its violent wars and feuds, as well as its folklore and mythology, intrigued 1. Sir Walter Scott made use of these stereotypes in his novel The Bride of Lammermoor, which inspired several musical works including Lucia.[3]The story concerns the emotionally fragile Lucy Ashton (Lucia) who is caught in a feud between her own family and that of the Ravenswoods. The setting is the Lammermuir Hills of Scotland (Lammermoor) in the 1. Lucia Di Lammermoor SextetPerformance history[edit]1. The opera premiered on 2. September 1. 83. 5 at the Teatro San Carlo in Naples. However, John Black notes that "the surprising feature of its subsequent performance history is that it established so slowly in the Neapolitan repertoire",[4] noting that while there were 1. London saw the opera on 5 April 1. Paris, Donizetti revised the score for a French version which debuted on 6 August 1. Théâtre de la Renaissance in Paris. It reached the United States with a production in New Orleans on 2. December 1. 84. 1.[5]2. The opera was never absent from the repertory of the Metropolitan Opera for more than one season at a time from 1. After World War II, a number of sopranos were instrumental in giving new life to the opera, including Maria Callas (with performances from 1. La Scala and Berlin in 1. Herbert von Karajan) and Dame Joan Sutherland (with 1. Royal Opera House Covent Garden). It has remained a staple of the operatic repertoire and ranks 2. Operabase's list of the most- performed operas worldwide from the 2. Lisette is an Opera Singer in New York. Teatro Real, Bayerische Staatsoper, AZ Opera) Lucia - Lucia di Lammermoor. Falstaff (Metropolitan Opera, De. · New York City. New York City. Lucia di Lammermoor - The Metropolitan Opera. United States; New York (NY) New York City; New York City. Lucia di Lammermoor - MET (2015) - Lucia di Lammermoor - MET (2015) Information. The Metropolitan Opera -. New coloratura talent Albina Shagimuratova sings. Instrumentation[edit]The instrumentation[7] is: Woodwinds: piccolo, 2 flutes, 2 oboes, 2 clarinets (in B- flat, A & C) and 2 bassoons. Brass: 4 horns (in E- flat, B- flat, D, C, A, G, D- flat, E & A- flat),[verification needed] 2 trumpets (in B- flat, A, D & E),[verification needed] 3 trombones. Percussion: timpani, triangle, bass drum, cymbals and campana (tubular bells)Strings: harp, first violins, second violins, violas, violoncellos and double basses. Additionally an off- stage wind band is used; Donizetti did not provide instrumentation. Synopsis[edit]Time: Early 1. Place: Scotland[9]Scene 1: The gardens of Lammermoor Castle. Normanno, captain of the castle guard, and other retainers are searching for an intruder. He tells Enrico that he believes that the man is Edgardo of Ravenswood, and that he comes to the castle to meet Enrico's sister, Lucia. It is confirmed that Edgardo is indeed the intruder.
Lucia Di Lammermoor Inva Mula![]() Enrico reaffirms his hatred for the Ravenswood family and his determination to end the relationship. Scene 2: By a fountain at the entrance to the park, beside the castle. Lucia waits for Edgardo. In her famous aria "Regnava nel silenzio", Lucia tells her maid Alisa that she has seen the ghost of a girl killed on the very same spot by a jealous Ravenswood ancestor. Alisa tells Lucia that the apparition is a warning and that she must give up her love for Edgardo. Edgardo enters; for political reasons, he must leave immediately for France. He hopes to make his peace with Enrico and marry Lucia. Lucia tells him this is impossible, and instead they take a sworn vow of marriage and exchange rings. Edgardo leaves. Scene 1: Lord Ashton's apartments in Lammermoor Castle. Preparations have been made for the imminent wedding of Lucia to Arturo. Enrico worries about whether Lucia will really submit to the wedding. He shows his sister a forged letter seemingly proving that Edgardo has forgotten her and taken a new lover. Enrico leaves Lucia to further persuasion this time by Raimondo, Lucia's chaplain and tutor, that she should renounce her vow to Edgardo, for the good of the family, and marry Arturo. Scene 2: A hall in the castle. Arturo arrives for the marriage. Lucia acts strangely, but Enrico explains that this is due to the death of her mother. Arturo signs the marriage contract, followed reluctantly by Lucia. At that point Edgardo suddenly appears in the hall. Raimondo prevents a fight, but he shows Edgardo Lucia's signature on the marriage contract. Edgardo curses her, demanding that they return their rings to each other. He tramples his ring on the ground, before being forced out of the castle. Set design for act 3, scene 3 by Francesco Bagnara, circa 1. Civica Raccolta Stampe Bertarelli Milan)Scene 1: The Wolf's Crag. Enrico visits Edgardo to challenge him to a duel. He tells him that Lucia is already enjoying her bridal bed. Edgardo agrees to fight him. They will meet later by the graveyard of the Ravenswoods, near the Wolf's Crag. Scene 2: A Hall in Lammermoor Castle. Raimondo interrupts the marriage celebrations to tell the guests that Lucia has gone mad and killed her bridegroom Arturo. Lucia enters. In the aria "Il dolce suono" she imagines being with Edgardo, soon to be happily married. Enrico enters and at first threatens Lucia but later softens when he realizes her condition. Lucia collapses. Raimondo blames Normanno for precipitating the whole tragedy. Scene 3: The graveyard of the Ravenswood family. Edgardo is resolved to kill himself on Enrico's sword. He learns that Lucia is dying and then Raimondo comes to tell him that she has already died. Edgardo stabs himself with a dagger, hoping to be reunited with Lucia in heaven.[1. The "Mad Scene"[edit]The "Mad Scene", "Il dolce suono.. Spargi d'amaro pianto", has historically been a vehicle for several coloratura sopranos (providing a breakthrough for Dame Joan Sutherland) and is a technically and expressively demanding piece. Donizetti wrote it in F major, but it is often transposed down a tone (two half- steps) into E- flat. Some sopranos, including Maria Callas, have performed the scene in a come scritto ("as written") fashion, adding minimal ornamentation to their interpretations. Most sopranos, however, add ornamentation to demonstrate their technical ability, as was the tradition in the bel canto period. This involves the addition and interpolation of trills, mordents, turns, runs and cadenzas. Almost all sopranos append cadenzas to the end of the "Mad Scene", sometimes ending them on a high keynote (E- flat or F, depending on the key in which they are singing, though Mado Robin takes an even higher B- flat[1. Some sopranos, including Ruth Welting[1. Mariella Devia[1. Mad Scene" in Donizetti's original F major key, although E- flat is more commonly heard. The original scoring of this scene was for glass harmonica, but this was later replaced by the more usual arrangement with two flutes. The popular soprano and flute duet cadenza was composed in 1. Mathilde Marchesi for her student Nellie Melba's performance of the role, requiring ten weeks of rehearsal for the new addition and causing a critical reevaluation and surge of new interest in the opera.[1. List of arias and musical numbers[edit]The index of Bonynge's edition lists the following numbers. Preludio"Act 1. 2. Percorrete le spiaggie vicine"3. Tu sei turbato!"4. Cruda, funesta smania" (Enrico)5. La pietade in suo favore" (Enrico)6. Ancor non giunse!" (Lucia)7. Regnava nel silenzio" (Lucia)8. Quando rapito in estasi" (Lucia)9. Egli s'avanza" (Alisa, Edgardo, Lucia)1. Sulla tomba che rinserra" (Edgardo, Lucia)1. Qui di sposa eterna.. Ah! Verranno a te sull'aure" (Edgardo, Lucia)Act 2. Lucia, fra poco a te verrà"1. Appressati, Lucia"1. Il pallor funesto, orrendo"1. Soffriva nel pianto"1. Che fia"1. 7. "Se tradirmi tu potrai"1. Ebben? – Di tua speranza"1. Ah! cedi, cedi" (Raimondo)2. Al ben de' tuoi qual vittima" (Raimondo)2. Per te d'immenso giubilo"2. Dov'è Lucia?"2. 3. Chi mi frena in tal momento" (sextet)2. T'allontana sciagurato"Act 3. Orrida è questa notte"2. Qui del padre ancor respira"2. D'immenso giubilo"2. Ah! cessate quel contento"2. Oh! qual funesto avvenimento!"3. Oh, giusto cielo!. Il dolce suono" (Lucia, "Mad Scene")3. Ohimè! sorge il tremendo fantasma"3. S'avanza Enrico"3. Spargi d'amaro pianto"3. Si tragga altrove"3. Tombe degli avi miei" (Edgardo)3. Fra poco a me ricovero"3. Oh meschina!"3. 8. Tu che a Dio spiegasti l'ali" (Edgardo)Lucie de Lammermoor (French version)[edit]After Lucia di Lammermoor was produced in Paris, a French version was commissioned for the Théâtre de la Renaissance in Paris. Donizetti was living there at the time, preparing the revision of Poliuto into its French version (which became Les Martyrs). Lucie opened on 6 August 1. France. The libretto, written by Alphonse Royer and Gustave Vaëz, is not simply a translation, as Donizetti altered some of the scenes and characters. One of the more notable changes is the disappearance of Alisa, Lucia's handmaid and confidante. This allows the French version to isolate Lucia, thus increasing the story's emotional impact. Furthermore, Lucia loses most of Raimondo's support; his role is dramatically diminished while Arturo's is increased. Donizetti also added a new character, Gilbert, who is loosely based on the huntsman in the Italian version. However, Gilbert is a more developed figure who serves both Edgardo and Enrico, divulging their secrets to the other for money. The French version is performed far less frequently than the Italian, but it was revived to great acclaim by Natalie Dessay and Roberto Alagna at the Opéra National de Lyon in 2. It was co- produced by the Boston Lyric Opera and the Glimmerglass Opera. Sarah Coburn sang the title role as her first "Lucia" in this French version in 2. In 2. 00. 8 Lucie was produced by the Cincinnati Opera with Coburn again in the title role. Recordings[edit]Lucia has received over 2.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. Archives
May 2019
Categories |