LUCIA DI LAMMERMOOR – George Petean – A star is born!!!
George Petean, “A star is born”. An excellent baryton.
George Petean as Enrico Ashton- A star is born!!!
Review by Henning Høholt
The old production of Gaetano Donizetti´s Lucia di Lammermoor (1835) at Opera de Paris. This evening, October 4th 2013, was performance no 49´of this production and no 410 totally.
Actually the production is not good, it dont give the right atmosphaere of a Scottich Castle, but the opening act was OK, unfortuntaely there didnt come any changes, still that the light by Andrei Serban, who also is responsable for the directing, is very good and helped a lot. The scenography by William Dudley need a change, he is too responsable for the costumes, which are good
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The renewing in showing such a great musically performance again and again lays in the choose of singers.
For George Petean it is “A star is born”!!!
If this excellent, musically very well sounding baryton continues like that, he is a star
. Wonderful.
Sonya Yoncheva, Beautiful as Lucia di Lammermoor in Paris
As Lucia we had a great Sonya Yoncheva, with excellent tune, brillian coloratures, musicality, good looking. Very good. Her brother Edgardo di Ravenshood was well sung by Michael Fabiano, the right charactere for this role. Orlin Anastassov´s beautiful bass is filling up the auditorium well.
It was also a great pleasure to enjoy Alfredo Nigro as Arturo Bucklaw, he has the unthankfull role to be the bridegoom for Lucia, as desided by her brother Edgardo, a bridegoom that she absolutely dont want to marry, as she is in love with Enrico. However. Alfredo Nigro was the center of the play in his scenes, he was singing well, a good tenor, ideal for this role, I do hope I will get the chanche to listen to him in Wagner pieces, he has a Wagner sound in his voice. (He shall soon sing Ein Hirt und ein Junger Seeman in Tristan and Isolde at Teatro Real in Madrid.)
Gaetano Donizetti (1797-1848)
Maurizio Benini conducted it all with great musicality. It was a pleasure, (as very often) to enjoy the many demanding soloists in the orchestra, outstanding.
The hopeless telt on stage during the wedding night was a hopeless idea. Find out another solution for the next time. Please.
Lucia di Lammermoor is a dramma tragico (tragic opera) in three acts by Gaetano Donizetti. Salvatore Cammarano wrote the Italian language libretto loosely based upon Sir Walter Scott´s historical novel The Bride of Lammermoor
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The role of Lucia is considered one of the largest and most demanding for a koloratursopran, not least because of the 15 minute long madness scene that she is right before she dies.
Salvatore Cammarano’s libretto drew its inspiration from Walter Scott’s The Bride of Lammermoorand Victor Ducange’s tragedy based on the novel and written 1828. The archetypal Italian opera in which the tragic destiny of the heroine goes hand in hand with vocal virtuosity, Lucia de Lammermoor is generally considered along with Don Pasquale to be Donizetti’s masterpiece. The numerous ornate melodies always reflect the dramatic content of the work, particularly in the famous sextet at the end of the second act which in many ways heralds the music of Verdi with each of the six characters expressing different feelings which gradually blend together. The work is most famous for the long “mad scene” in Act III, one of the jewels of romantic bel canto. This bravura piece requires an artist possessing not only an exceptional technique but also a true feeling for theatre. Somewhere between sleep and wakefulness, Lucia relives the great love duet of Act II. For a few minutes she imagines that she has married Edgardo, before reality catches up with her. The voice passes from virtuosity to rapture whilst expressing the depths of suffering and despair in its exchanges with the flute. This highly elaborate scene transcends simple vocal dexterity to become an essential element of the work.