Lucia di Lammermoor

Lucia di Lammermoor
Composed by Gaetano Donizetti with libretto by Salvatore Cammarano. Presented by Melbourne Opera. Directed by Suzanne Chaundy, conducted by Raymond Lawrence and Greg Hocking AM. Athenaeum Theatre, 188 Collins St, Melbourne. 8, 14, 16 & 18 May 2024.

This superb production of Lucia di Lammermoor exalts the tale that has been transformed into a highly dramatic and stirring opera.

Based on Sir Walter Scott’s gothic romance The Bride of Lammermoor, the opera highlights the incredible bravery and audaciousness of the female protagonist. Lucia (Elena Xanthoudakis) is coerced into a marriage with Arturo (Robert Macfarlane) by her brother Enrico (Simon Meadows). Determined to be in control of her destiny, Lucia secretly betrothes herself to her brother’s bitter enemy, Edgardo (Henry Choo). The story is intriguing because of the way it interlaces politics with family and gender dynamics. Lucia is bartered by Enrico in his efforts to avoid political ruin. However, Lucia’s determination is underestimated and her marriage to Arturo proves fatal. 

The larger-than-life emotions that underpin this story are beautifully managed by the performers. Xanthoudakis is exceptional as Lucia, and this is especially evident in the famous scene where she is driven to madness. Her disposition is characterised by the intense exasperation resulting from her impossible circumstances. Her psychological decline is rendered a completely rational response to the ruthless mistreatment of her humanity and persona. The self-centred and pitiless nature of this patriarchal society that surrounds Lucia is expertly depicted by the performers: Meadows conveys a chilling indifference to Lucia’s sentiments and the chaplain, Raimondo (Eddie Muliaumaseali’i) is played with equal heartlessness as he leverages Lucia’s trust in him to ensure her compliance. The production keeps Lucia's predicament, her desires, hopes and aspirations at its centre and is unrelenting in its emphasis on the violations she endures.

The intensity of the drama of this story is particularly well framed by the very evocative staging and set design. Dale Ferguson takes a very traditional approach to the setting, but the imagery is very striking and monumental in scale. This works to highlight the grandeur and the fervour of the story. The staging exploits the more intimate nature of the venue and keeps most of the action downstage. This is all carefully choreographed and executed with precision. Thus, the performances emanate from the stage with incredible power and urgency and keep the audience gripped to the tragic events. This production showcases exquisite singing talent and superb execution of music. Melbourne Opera unquestionably offers a refined, unforgettable and genuinely engrossing theatrical experience.

Patricia Di Risio 

Photographer: Robin Halls

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