This allows the off-stage action to be graphically represented. The stage is divided throughout, on one side the public spaces in which the story plays out, and the other side Lucia’s private rooms. In the libretto, much of the violence is unseen – Lucia’s murder of Arturo and her own suicide – but Mitchell and designer Vicki Mortimer take a different approach. Murder ensues, and madness, with the story spiralling into bloodshed and tragedy. It is a story of love and betrayal in the Scottish Highlands: Lucia (Lisette Oropesa ) is in love with Edgardo (Charles Castronovo), but he is the rival of her brother, Enrico (Christopher Maltman, pictured below with Andrew Tortise as Normanno), who forces her to marry Arturo (Konu Kim) to seal an alliance. Add to all that an impressive revival cast and excellent conducting, and the production’s fortunes seem secure.ĭonizetti and his librettist, Salvadore Cammarano, based their 1835 opera on a recently published novel by Walter Scott.
Riccardo Frizza conducts, with a light touch that sometimes goes slack.Mitchell has repaid their confidence with an impressively conceived production: visually arresting, suitably dramatic and with many subtle narrative additions. Sierra’s rich soprano sounds captivating in this music, imbuing it with a warmth that makes Lucia’s pain all too real. When Lucia understands, too late, what’s happened, she sings the most famous mad scene in all of opera-a twenty-minute virtuosic display often handled by sparkly voices. Stone’s onstage film crew and overly enthusiastic use of the Met’s revolving platform immerse viewers in a forgotten, economically distressed town in the Rust Belt, where Nadine Sierra’s good-hearted Lucia is tricked by her sleazebag brother (Artur Ruciński’s elegantly sung Enrico) into thinking that her beloved (Javier Camerana’s tender Edgardo) has abandoned her.
In the Metropolitan Opera’s new production of “Lucia di Lammermoor,” the director Simon Stone parses the forces that drive Donizetti’s tragedy-financial desperation, familial abuse, clan conflict-to create a modern-day staging with uncomfortably acute resonances.
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