Lucia di Lammermoor

What better time for State Opera South Australia to stage the ‘grand opera’ Lucia di Lammermoor than the day after what would have been the late Dame Joan Sutherland’s 98^th birthday!

Lucia di Lammermoor,  composed by Gaetano Donizetti in 1835 with libretto by Salvadore Cammarano, is loosely based upon Sir Walter Scott’s 1819 historical novel ‘The Bride of Lammermoor’ and has become a favourite with opera companies all over the world.

‘Our Joan’ made the opera hers in 1959 at the Royal Opera House. Following her run another Australian gem of the opera stage, June Bronhill, took over the role. Bronhill confided in me in 1991 that the costume had to be remade as Bronhill was only 4 foot, 11 ½ inches at the time and quite trim!

Australia first saw ‘our Joan’ as Lucia in the 1986 John Copley production. Laura Hansford has been entrusted with directing the revival featuring the original sets and costumes.

The tragic love story of Lucia di Lammermoor follows Lucia and Edgardo, members of opposing houses in Scotland who are carrying on a secret affair. Enrico, Lucia’s brother, forces Lucia to marry another nobleman, Arturo, lying to her, saying that Edgardo has betrayed her and married someone else.

Lucia is devastated and, so deep in her grief, that she starts to lose her sanity. Edgardo bursts in on the wedding, and curses Lucia for betraying him. After the wedding, Lucia goes mad and kills Arturo in their wedding bed. Edgardo knowing nothing of her madness, vows to a duel with Enrico. Lucia finally dies, imaging she is going to heaven. Edgardo learns of her death and kills himself to be with her in heaven.

Hansford’s production removes a lot of the ‘stand and sing’ that has been the norm for grand opera and brings out the real emotional story, a vulnerable young woman whose suffering is deemed as not important when compared to forming a link between feuding families. Her characters are real (as real as they can be in this style of opera) and use every centimetre of the Gothic splendour of Henry Bardon’s original set.

Her vision is complemented by Michael Stennett’s original costumes, realised by Tracey Richardson and Donn Byrnes’ original lighting, enhanced by Mark Oakley.

The unit set cleverly becomes the gardens of Lammermoor castle, a fountain near the castle,

Lord Ashton’s apartment, a hall in the castle, Wolfcrag, and the graveyard of the Ravenswood family. Huge columns, elevated walkways and a winding staircase, all lurking in the shadows form part of this brilliantly designed piece of architecture.

Lucia Marin conducts the Adelaide Symphony Orchestra with an eye for detail bringing out every nuance. As always, their performance is perfection itself!

Emma Pearson’s Lucia is a woman whose life is turned upside down by her brother Enrico. Her descent into madness is well handled. I particularly enjoyed her ‘work’ with her wedding veil, stained red by the murder of Arturo. We wait for the ‘mad scene’ and are not disappointed. ‘Il dolce suono mi colpì di sua voce’ is spellbinding.

Her brother Enrico is one of the original opera villains, superbly played by Morgan Pearse. Earning well-earned boos from the audience at curtain call, Pearse is riveting to watch, commanding the stage with his resonant baritone voice and domineering stage presence. His ‘Cruda, funesta smania’ brought the house down.

Enrico’s nemesis, seductively sung by Edgardo Alok Kumar, plays the early love scenes with Lucia with great feeling. His best work however is at the graveyard in act 3. ‘Tombe degl'avi miei’ is sung with a broken heart and a crisp, clear tenor voice. His death scene elicited real pity from the audience.

Pelham Andrews resonant bass voice is perfect for Raimondo, the Chaplin at Lammermoor. He is truly ’the meat in the sandwich’ and the peacemaker of the opera and his ‘Dalle stanze, ove Lucia’ is commanding.

Iain Henderson’s Arturo, the murdered husband of Lucia is the blameless victim of the opera. His ‘Esci fuggi il furor che n'accende’ with Raimondo is well handled.

Lucia’s maid Alisa, brought to life by Samantha Rubenhold supports Pearson’s Lucia to perfection. There were balance problems with the orchestra early in act 1, but these were quickly corrected.

Jiacheng Ding’s Normanno, the captain of the guard started hesitantly in act 1 with the chorus and orchestra occasionally drowning his voice, but more than compensated in later acts.

The State Opera South Australia chorus (with chorus master Anthony Hunt) play many roles and provide a strong base for the opera. Special mention should be made of Cherie Boogaart’s falconer in act 1 and Dowager in act 3, a lesson in character acting.

Lucia di Lammermoor is a welcome return to grand opera, beautifully staged and sublimely sung! State Opera South Australia are to be congratulated for mounting this masterpiece. Dame Joan would approve, I’m sure!

Barry Hill OAM

Photographer: Andrew Beveridge