Lucia Di Lammermoor is a Bel Canto masterpiece in my eyes, having one of the stronger stories of a Donizetti opera, intriguing characters that actually have development such as Enrico being scheming in one scene and sympathetic in another and amazing music throughout.
While not quite as good as the 1983 production with Sutherland and Kraus, which is for me the best Lucia production you'll find though the Scotto 1967 Tokyo production and 1982 production with Carreras and Ricciarelli also definitely worth seeing, this Lucia is as good as you would expect.
For Lucia Di Lammermoor to work, you need a strong Edgardo and Lucia. In this case we do. Peter Dvorsky may be stolid at times, but at others like in the final scene and in the beautifully matched duets between him and Anderson he is suitably ardent and sings with his usual intelligence and beauty. The best thing about this production though with her clear colouratura and sincere acting is June Anderson, who is perfect in the title role.
They have a fine supporting cast too, particularly Lajos Miller in the role of Lucia's brother Enrico. He is a good actor and displays a powerful voice, also he and Anderson work wonderfully together.
Production-wise I have not much to fault. The sound could have been clearer on occasions, however the production is both sumptuous and atmospheric with good lighting and camera work.
The orchestral playing is superb, likewise with the conducting. Staging was excellent. The Sextet still has the conflict and pathos it should do, but the most striking touch was the Mad scene. Although Gruberova, Ricciarelli and Sutherland also have truly effective mad scenes, Anderson's is my favourite so far. Anderson doesn't rely on looking too beautiful or over-theatrical gestures which I think eluded someone like Netrebko. The Mad scene here is eerie, slow, haunting, detached and somewhat ghostly, very like a sleepwalking scene. Why I also say this was my favourite was that that's my idea of how to do Lucia's Mad scene.
Overall, a wonderful Lucia, helped hugely by Anderson and the staging of the Mad Scene. 10/10 Bethany Cox
While not quite as good as the 1983 production with Sutherland and Kraus, which is for me the best Lucia production you'll find though the Scotto 1967 Tokyo production and 1982 production with Carreras and Ricciarelli also definitely worth seeing, this Lucia is as good as you would expect.
For Lucia Di Lammermoor to work, you need a strong Edgardo and Lucia. In this case we do. Peter Dvorsky may be stolid at times, but at others like in the final scene and in the beautifully matched duets between him and Anderson he is suitably ardent and sings with his usual intelligence and beauty. The best thing about this production though with her clear colouratura and sincere acting is June Anderson, who is perfect in the title role.
They have a fine supporting cast too, particularly Lajos Miller in the role of Lucia's brother Enrico. He is a good actor and displays a powerful voice, also he and Anderson work wonderfully together.
Production-wise I have not much to fault. The sound could have been clearer on occasions, however the production is both sumptuous and atmospheric with good lighting and camera work.
The orchestral playing is superb, likewise with the conducting. Staging was excellent. The Sextet still has the conflict and pathos it should do, but the most striking touch was the Mad scene. Although Gruberova, Ricciarelli and Sutherland also have truly effective mad scenes, Anderson's is my favourite so far. Anderson doesn't rely on looking too beautiful or over-theatrical gestures which I think eluded someone like Netrebko. The Mad scene here is eerie, slow, haunting, detached and somewhat ghostly, very like a sleepwalking scene. Why I also say this was my favourite was that that's my idea of how to do Lucia's Mad scene.
Overall, a wonderful Lucia, helped hugely by Anderson and the staging of the Mad Scene. 10/10 Bethany Cox
