The Power of the Female in Lucia di Lammermoor (The Royal Opera)

Lucia di Lammermoor is Donizetti's tragic masterpiece. The opera marked the beginning of his partnership with librettist Salvadore Cammarano - who, as was the fashion of the day, looked to Walter Scott. Find out more: www.roh.org.uk/...
Cammarano’s adaptation of Scott’s novel The Bride of Lammermoor moved Donizetti greatly, and in the subsequent score he produced not only some of his most beautiful but also his most dramatically potent music. Within a few years of its premiere in Naples on 26 September 1835 Lucia had entered the international repertory. Here it has remained, despite a practice in the 19th and 20th centuries to make cuts that obscured Donizetti’s deft handling of his ensemble cast, with a consequent impact on the opera’s brilliant dramatic pacing.

[@MLewis6270]

I have been an opera fan for fifty years, but never really warmed to Lucia. Ordered the DVD/Bluray of this Royal Opera production. The continuation of the action on half the stage, even during what can be pretty static scenes of singing, really sucked me into the opera and I am now a big fan. I congratulate the director on a very inventive presentation. Of course, she was lucky to have such a talented cast, both for their singing and acting. Particular kudos for Damrau. She gives one of the best all-round performances in an opera it has been my pleasure to enjoy. Right up there with great singing actresses like Stratas, Scotto, Behrens, Dessay.

[@mistersmith1883]

I love how the guy explained the orchestra and vocal style of Lucia. That flute during the mad scene is like 1 nerve exposed

[@mbadiapamies4850]

JUST AWESOME

[@Rassendhyl100]

Admirable effort. Diana's singing is superb. However, I found the acting too disruptive and I had to just listen in order to appreciate her pianissimos, particularly at the end. I am not at all discouraging new and creative presentations. I just find it interesting that I experienced this particular one, as if it were two different performances and had to shut the visual down in order to hear the music. I have watched Diana many times in this role.

[@andjelatatarovic8309]

alot of them have such lovely eyes!maybe it's the passion :3

[@selini52]

Would be lovely to watch without attending,via tv?

[@herrbrucvald6376]

the director is a feminist bore.

[@testosteronic]

!mrdunn brucvald how is she a bore if she's made the role less boring?

[@herrbrucvald6376]

The role isn't boring. It doesn't need 'improving'. The director should stick to productions of her own operas, or all the beautiful masterpieces written by feminists......oh...wait... There are no masterpieces written by feminists, and the director hasn't written anything. Only Donizetti and Cammarano, men, have written great masterpieces. What a god-awful production, god-awful. It completely contradicts the actual work of actual art-producing geniuses. , And the singers---god help us---are completely below the task of singing this. Completely. V I V A G A E T A N O + S A L V A D O R E ! !

[@testosteronic]

!mrdunn brucvald I could have respected that reply, a difference of opinion, if the second half hadn't been 'men are better women suck nah nah'. I forget there are people who genuinely think there's a difference in talent between women and men. Lame.

[@Jaydoggy531]

I would argue the opera is actually rather feminist. It reminds me of The Yellow Wallpaper, in fact. But I think the production still looks dumb. I think the story should speak for itself.

[@lionsmaine1238]

Sweetie, it's called an interpretation? I mean maybe there aren't many "masterpieces" written by females because the only places they could write music was in a convent. Not only that, but none held any kind of prestigious position where large pieces of music were able to be performed. You're a close-minded fool to believe women aren't capable of talent on par with men, please go back to the 16th century where you belong.