Lucia di Lammermoor

di Gaetano Donizetti

The Metropolitan Opera

New York
  • aprile 2018
    19:30 > 22:30
    3 ore
  • aprile 2018
    20:00 > 23:00
    3 ore
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Lucia di Lammermoor


Stampa e Recensioni

A Grand Slam: Lucia, Luisa, and Three Tall Women
Non disponibile in italiano
Yes, Jessica Pratt is the real thing: an accomplished high lyric-coloratura who knows this score inside and out and can manage most everything the role requires without trouble. Her voice is one of those inverted triangles -- she sounds unremarkable in her middle register. Pleasant, but not memorable. So the very centrally written "Regnava nel silencio" had me thinking, "This is it?" But her upper register is another voice -- brilliant, loud, projects beautifully. In the sextet in that final note her voice was the one that carried over everyone else's. As might be expected her cadenzas were written so her voice could sit in the higher tessitura and she capped her big numbers with blazing money notes that the audience loved -- a high F at the end of her duets with Raimondo, two long-held E-flats after both "Il dolce suono" and "Spargi d'amoro pianto." I was sitting in a balcony box and could see the prompter applauding vigorously after "Il dolce suono."
Classics Today
Robert Levine
Una nuova brillante stella si unisce al cast di Lucia al Metropolitan
Il canto è stato perfetto, con un pizzico di June Anderson e, ecco sto per dirlo, Joan Sutherland, nella sua precisione assoluta, spettacolari enormi Re bemolle, Re naturali, Mi bemolle (e persino un Fa sovracuto a chiusura della noiosa scena con Raimondo, il vicario di famiglia), e un controllo assoluto della coloratura. Lunghe frasi cantate pianissimo e un Mi bemolle a chiusura della scena della pazzia che è sembrato eterno sono state la cilieggina sulla torta.
Francisco Salazar
Metropolitan Opera 2017-18 Review-Lucia di Lammermoor: Jessica Pratt Is A Revelation As Donizetti’s Tragic Heroine
Non disponibile in italiano
In the famous cadenza, Pratt displayed vocal fireworks, singing with such refinement but never losing sight of the emotion. Each time the glass harmonica played a line, Pratt followed with exact precision. It all melded with such perfection and the sensation was otherworldly. And as she climaxed the scene, instead of finishing with a forte E Flat, Pratt kept the note mezzo forte. In her subsequent “Spargi d’amaro,’ the soprano’s Lucia became more agitated. While still keeping the frailness in her movements, Pratt’s vocal fiorturas became unhinged, singing numerous roulades and even going up to an E Flat. And the vocal fireworks would not end there as Pratt ended the mad scene with a final and powerful E Flat until the orchestra finished. And it surely caused an impact that left audiences wanting more. It was the perfect way to end what was already a showstopping evening. One hopes that Pratt returns for more Bel Canto because she showcases the best of both worlds – great acting, and impeccable coloratura.
New York Observer
James Jorden
The Met’s ‘Cendrillon’ Will Make Anyone Love Fairy Tales…Yes, Even ‘Frozen’
Non disponibile in italiano
Offering a welcome whiff of lightness, though, was soprano Jessica Pratt in the title role. Her singing was old-fashioned in the best sense of the term: technically assured, limpid and unerringly lovely. If anything, her performance felt a bit too easy: she walked her vocal tightrope (all the way to a crystalline high F) with such insouciance that the audience response was merely warm instead of frenzied. Pratt has only one more performance this season (April 14), but Cendrillon blessedly continues through May 11. You simply have to see it, whether you’re a tween girl or (like me) merely a tween girl at heart.


Lucia di Lammermoor

Libretto scritto in italian da Salvadore Cammarano, messo in scena la prima volta di sabato il 26 settembre del 1835
Non disponibile in italiano
Lucia di Lammermoor is a dramma tragico (tragic opera) in three acts by Gaetano Donizetti. Salvadore Cammarano wrote the Italian language libretto loosely based upon Sir Walter Scott's historical novel The Bride of Lammermoor. Donizetti wrote Lucia di Lammermoor in 1835, a time when several factors led to the height of his reputation as a composer of opera. Gioachino Rossini had recently retired and Vincenzo Bellini had died shortly before the premiere of Lucia leaving Donizetti as "the sole reigning genius of Italian opera". Not only were conditions ripe for Donizetti's success as a composer, but there was also a European interest in the history and culture of Scotland. The perceived romance of its violent wars and feuds, as well as its folklore and mythology, intrigued 19th century readers and audiences. Sir Walter Scott made use of these stereotypes in his novel The Bride of Lammermoor, which inspired several musical works including Lucia. The story concerns the emotionally fragile Lucy Ashton (Lucia) who is caught in a feud between her own family and that of the Ravenswoods. The setting is the Lammermuir Hills of Scotland (Lammermoor) in the 17th century.
Non disponibile in italiano
Time: Early 18th century Place: Scotland ACT 1 Scene 1: The gardens of Lammermoor Castle Normanno, captain of the castle guard, and other retainers are searching for an intruder. He tells Enrico that he believes that the man is Edgardo, and that he comes to the castle to meet Enrico's sister, Lucia. It is confirmed that Edgardo is indeed the intruder. Enrico reaffirms his hatred for the Ravenswood family and his determination to end the relationship. Scene 2: By a fountain at the entrance to the park, beside the castle Lucia waits for Edgardo. In her famous aria "Regnava nel silenzio", Lucia tells her maid Alisa that she has seen the ghost of a girl killed on the very same spot by a jealous Ravenswood ancestor. Alisa tells Lucia that the apparition is a warning and that she must give up her love for Edgardo. Edgardo enters; for political reasons, he must leave immediately for France. He hopes to make his peace with Enrico and marry Lucia. Lucia tells him this is impossible, and instead they take a sworn vow of marriage and exchange rings. Edgardo leaves. ACT 2 Scene 1: Lord Ashton's apartments in Lammermoor Castle Preparations have been made for the imminent wedding of Lucia to Arturo. Enrico worries about whether Lucia will really submit to the wedding. He shows his sister a forged letter seemingly proving that Edgardo has forgotten her and taken a new lover. Enrico leaves Lucia to further persuasion this time by Raimondo, Lucia's chaplain and tutor, that she should renounce her vow to Edgardo, for the good of the family, and marry Arturo. Scene 2: A hall in the castle Arturo arrives for the marriage. Lucia acts strangely, but Enrico explains that this is due to the death of her mother. Arturo signs the marriage contract, followed reluctantly by Lucia. At that point Edgardo suddenly appears in the hall. Raimondo prevents a fight, but he shows Lucia's signature on the marriage contract to Edgardo. He curses her, demanding that they return their rings to each other. He tramples his ring on the ground, before being forced out of the castle. ACT 3 Scene 1: The Wolf's Crag Enrico visits Edgardo to challenge him to a duel. He tells him that Lucia is already enjoying her bridal bed. Edgardo agrees to fight him. They will meet later by the graveyard of the Ravenswoods, near the Wolf's Crag. Scene 2: A Hall in Lammermoor Castle Raimondo interrupts the marriage celebrations to tell the guests that Lucia has gone mad and killed her bridegroom Arturo. Lucia enters. In the aria "Il dolce suono" she imagines being with Edgardo, soon to be happily married. Enrico enters and at first threatens Lucia but later softens when he realizes her condition. Lucia collapses. Raimondo blames Normanno for precipitating the whole tragedy. Scene 3: The graveyard of the Ravenswood family Edgardo is resolved to kill himself on Enrico's sword. He learns that Lucia is dying and then Raimondo comes to tell him that she has already died. Edgardo stabs himself with a dagger, hoping to be reunited with Lucia in heaven.

Gaetano Donizetti

Breve biografia del compositore
Domenico Gaetano Maria Donizetti (Bergamo, 29 novembre 1797 – Bergamo, 8 aprile 1848) scrisse più di settanta opere, oltre a numerose composizioni di musica sacra e da camera. Le opere del Donizetti oggi più sovente rappresentate nei teatri di tutto il mondo sono L'elisir d'amore, la Lucia di Lammermoor e il Don Pasquale. Con frequenza sono allestite anche La fille du régiment, La Favorite, la Maria Stuarda, l'Anna Bolena, la Lucrezia Borgia e il Roberto Devereux. Nato a Bergamo il 29 novembre 1797, fu ammesso alle lezioni caritatevoli di musica tenute da Giovanni Simone Mayr e Francesco Salari. Fu proprio il Mayr ad aprire all'allievo prediletto le possibilità di successo, curandone prima la formazione e affidandolo poi alle cure di Stanislao Mattei. A Bologna, dove proseguiva gli studi musicali, il Donizetti scrisse la sua prima opera teatrale, Il Pigmalione. La rappresentazione "Enrico di Borgogna" a Venezia nel 1818, segnò il suo esordio teatrale. Firmato nel 1827 un contratto con l’impresario Domenico Barbaya, Donizetti si stabilì a Napoli, raggiungendo il grande successo con "Anna Bolena" ed "Elisir d’Amore". Nel 1829 era stato nominato direttore dei Teatri Reali di Napoli e, nel 1834, accettò la Cattedra di Composizione al Conservatorio della stessa città. Nel 1832, alla morte di Vincenzo Bellini, nonostante l'antipatia dimostrata in vita nei confronti del musicista, Donizetti gli dedicò una Messa da Requem. Nel 1835, Donizetti fece rappresentare a Napoli la "Lucia di Lammermoor" e, mentre la vita professionale del compositore andava a gonfie vele, venne colpito da una serie di lutti: in pochi mesi morirono il padre, la madre e la seconda figlia. Donizetti interruppe ogni sua attività in Italia per recarsi a Parigi, su consiglio di Gioachino Rossini. Nonostante la sfortuna continuasse a perseguitare il musicista con la morte della moglie e di un'altra figlia, Gaetano Donizetti curò il dispiacere e la solitudine componendo in pochi anni "Don Pasquale", "Don Sebastiano del Portogallo", "Linda di Chamounix", "Maria di Rohanna" e il "Conte di Chalais". Nel 1842 ricevette a Vienna l’ambita nomina di Maestro di Cappella di Corte, ma la sua salute, peggiorò sempre di più ed alla fine fu internato nel manicomio di Ivry-sur-Seine. Nel 1847, Donizetti,trasportato a Bergamo, fu accolto dai baroni Basoni Scotti, che lo assistettero fino alla morte, sopravvenuta l'8 Aprile 1848.


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