2022 Lucia di Lammermoor Full Opera - English Subtitles

Oropesa, Bernheim, Petean. Pidò with Wiener Staatsoper, 2022. The English translation and subtitles were provided by Librettos in English.
Copyright Disclaimer:
This video contains copyrighted material used under fair use for non-commercial, educational purposes, aimed at enhancing viewers' understanding and enjoyment. If copyright owners object, kindly request video removal. No infringement intended; I don't claim ownership, except for my English translations.
00:00 Intro
04:02 Prelude
06:14 Part I
11:43 Cruda funesta smania (Enrico)
16:01 La pietade in suo favore (Enrico)
18:36 Harp cadenza
22:46 Regnava nel silenzio (Lucia)
27:00 Quando rapito in estasi (Lucia)
36:03 Sulla tomba che rinserra (Edgardo, Lucia)
41:34 Verranno a te sull’aure (Lucia, Edgardo)
46:36 Part II
1:00:16 Se tradirmi tu potrai (Enrico, Lucia)
1:07:25 Al ben de' tuoi qual vittima (Raimondo)
1:09:50 Per te d'immenso giubilo (Chorus)
1:17:21 Chi mi frena in tal momento? (Sextet)
1:27:55 Part III
1:36:02 O sole più rapido (Edgardo, Enrico)
1:45:58 Il dolce suono (Lucia / Mad Scene)
1:52:57 Ardon gl'incensi (Lucia / Mad Scene)
2:03:52 Spargi d'amaro pianto (Lucia / Mad Scene)
2:11:42 Tombe degli avi miei (Edgardo)
2:15:49 Fra poco a me ricovero (Edgardo)
2:24:23 Tu che a Dio spiegasti l'ali (Edgardo)
Lucia: Lisette Oropesa
Edgardo: Benjamin Bernheim
Enrico: George Petean
Raimondo: Roberto Tagliavini
Arturo: Josh Lovell
Conductor: Evelino Pidò
Wiener Staatsoper Orchestra and Chorus

[@librettosinenglish4032]

Playlist of Full Opera with English Subtitles kzbin.info/aero/PLrkumY-yqNmkAfenvnnQ2iGlAag2TvJMl

[@wotan10950]

Whenever people talk about “the golden age,” I just think of Oropesa and Bernheim. We have of great singers today too. And yes, I saw both Sills (1972) and Sutherland (1982) in the theater as Lucia.

[@dorothychuang7872]

🙏🙏🙏for sharing. ❤️❤️❤️👏👏👏👍👍👍Benjamin Bernheim is my new favorite tenor. Love his voice and his high notes are thrilling. Just saw him in Romeo et Juilette at the MET. Oropesa is a phenomenon. Just saw her in Guillaume Tell at Wien State Opera. Looking forward to seeing more of them singing together. Two great artists.

[@Olgaalwina]

Die Solisten dieses Formates sind selten und man kann nur .... .lieben !

[@crunchlechat7372]

Il n'est pas nécessaire de commenter ce moment unique à déguster avec passion. Lisette Oropesa s'est surpassée et, à cette occasion a rejoint le temple des grandes divas, un petit regret la définition 480P. Merci de nous faire partager à chaque fois des œuvres intéressantes et de grands moments de bonheur.

[@lifeisgood3087]

Thank you! Danke Wiener Staasoper! Wunderbar. Wonderful production. Oropesa is beyond magnificent here. Truly flawless with a beautiful voice, difficult to explain with words.

[@lindadillon3061]

Omg! What a special gift today. Straight into watching it

[@user-oz9pb5hw6s]

THANK YOU!!!!!

[@jormalaitala3740]

Magnificent Lucia

[@ingridwild4833]

Keine Übereinstimmung von Bild und Ton!

[@constantinedamtsas3219]

Oropesa OR Nadine SIERRA(Royal Opera House London MAY 2024??)BOTH MAGIC..Saw them both cannot decide who to chose

[@ercheche8486]

Oropesa for sure , different type of natural musical skills , Nadine is a great profesional , Oropesa is one of the kind. In this level of singers is very easy to decide , all of them can make justice to the score , all of them similar technical skills , difference is the natural musical skill , not learned just borned with, this simple fact make the difference, the natural drama sense , the construction of the phrases , you can not learn that , just come with you by God hand

[@ballyhigh11]

'Dear modern productions,please do not drop the glass harmonica thinking you're being edgy. Including the glass harmonica IS edgy!

[@lifeisgood3087]

I wish opera houses would forget about playing the mad scene with glass harmonicas and use the flute instead. There is a night and day difference in both the sound and in the overall effect (actual rendition and the way the audience receives the magic sound). For me this is dissapointing.

[@drpaulduplessis]

So, like the insane directors who put on these works these days, you’re advocating that musical directors should disregard what Donizetti wrote in the score?

[@lifeisgood3087]

@drpaulduplessis Donizetti rewrote the score to change from the glass harmonica to flute right after Lucia's premiere. Although both instruments are utilized nowadays, the flute is the preferred instrument for all leading sopranos (i.e., Sutherland, Callas, and many more) and it is the instrument of my choice as it sounds much better, more melodic, and more in line with the story. The voice-flute formula is more accepted and applauded than the voice-gh formula. Dozens of composers revised and rewrote parts of their original opera scores to adjust/fix to obtain a better outcome that would please the audience better (i.e., Pucinni revised and rewrote parts of Tosca, Butterfly, etc., and so did Verdi, Bizet, Donizetti, Rossini, Wagner, etc.), and this is exactly what Donizetti did.

[@marquefan1]

The glass harmonica sounds here like a reflection of Lucia's failing mind. Eerie.

[@lifeisgood3087]

@marquefan1 Donizetti rewrote the score right after the premiere of Lucia. He changed the glass harmonica for the more appropriate flute. I believe he knew what he was doing.

[@ic.73]

Petean is a lazy tenor😂

[@jochemb.1748]

What an idiotic comic idea in the madscene, everybody on stage is looking and pointing to the right and Lucia appears from the left.👎👎👎

[@lifeisgood3087]

Hi. I am a big critic of the European opera houses when they stage classic operas with outrageous settings. Most of the times the actual story/plot of the opera is completely disconnected from the stage and lots get lost in that weird combination. I have seen Rigoletto staged in Las Vegas, La Traviata in planet Mars, Elektra in a futuristic setting, etc. All kinds of crazy stagings that completely wipe the intent of the story and of the author. However, in this case I kind of see a reason as to why the choir is looking to the right and not to the left. Lucia is completely out of her mind, and the message here is she should be coming from there, but instead, she is coming from the opposite side. This is the mad scene. I believe this is the message the producer is trying to convey here.

[@jochemb.1748]

@@lifeisgood3087 I can't agree with you! This is such a cheap affect! It's impossible to count the performances of comedies on film or stage, where the director milks laughs by this running gag! And to use this in one of the most dramatic operas all them all, is simply ga ga! By the way, I've seen a Tosca in Salzburg with Harteros, where at the end Scarpia was still alive, came climbing up the stairs of the Engelsburg and then shot Tosca with a revolver😱😱😱

[@sandywaddell4303]

It’s not up to me to defend the choices in this staging, but this *could* be taken as an illustration of how alone Lucia is, and how the expectations of everyone around her are so opposed to who she is and what she needs that they end up destroying her.