Lucia di Lammermoor at ROH

[underthecountertenor]

I didn't really want to go last night, but we're not getting a repeat - the audience was tiny, no more than 20, if that. Bodes ill for further opera relays here.

Where is 'here', jean? Reports from elsewhere suggest that there was pretty good attendance. I was at the Curzon Victoria, one of a number of venues in London showing it. The (admittedly studio-sized) auditorium was sold out.

[jean]

FACT, Liverpool. The opera relays here are never as well attended as the RSC's - Judi Dench in the Winter's Tale sold out three repeats.

Having said that, though, last night was unusually sparse; I was at the repeat of Roberto Devereux last week and the attendance was quite healthy.

We did have a problem a couple of years ago with very poor sound, which may have put people off; but that's been sorted.

[Cockney Sparrow]

I didn't mention the ghosts, whose excursions - the number of them - irritated me. I'd taken exception to enough points and yet I did want to express that in balance it was a worthwhile experience (the ever present problem of accentuating the negative).

I got an email request to fill in anonymous survey of the experience (done that before). Instead I sent this to the contact email (customer services) along these lines :

"Could you shorten the sound of running water in this production? It was a significant intrusion in Edgardo's final aria and very noticeable when it occurred before. Its a poor execution of a production item. I would appreciate the change when I come to the second cast performance

I don't expect there to be a change in the director's misjudged comedy (legs windmilling) in the murder scene or the gratuitous shirt divestment in the mausoleum - both errors of judgement in my view, which immediately struck me as not justified. But these points of controversy seem important for transitory producers passing through opera. I also understand we could have been subjected to far worse (in which case, I just close my eyes most of the time - live music really is the best experience) so my admiration for the singers and musicians who endure the demands of producers remains undiminished. And is the reason why I take a chance on buying the tickets so far in advance."

And I got a response, not automated, same day, saying it was forwarded to Kaspar Holten. I then asked them not to trouble with a reply (what's the point?) unless it was to confirm that the water sound effect would be shortened.

Also, BTW, I'm positive about the cinema relays - my cinemas have done it decently - not so different from the Opera House in many ways - usually closer and more comfortable as well, not to mention less travel involved.

[jean]

I didn't mention the ghosts, whose excursions - the number of them - irritated me.

I could see that the first ghost was supposed to be a Lammermoor girl murdered by one of Edgardo's ancestors, but who was the second? Lucia's mother?

I agree with you about the gratuitous shirt divestment in the mausoleum - especially as Lucia divested herself of very little. Either go for wholehearted nudity if you must, or leave it out. I don't remember legs windmilling in the murder scene so maybe they were windmilling less!

I could hear the water, just, when the bath was being filled during the morning-sickness scene, but not at all as Edgar died. Looks as if that's been toned down as well.

[underthecountertenor]

We did have a problem a couple of years ago with very poor sound, which may have put people off; but that's been sorted.

I'm not sure the in-house cinema technicians really know how to optimise the sound for opera relays. Last night at Curzon Victoria the lower-mid range was far too dominant, so that Enrico's opening aria was oppressively loud. Either they adjusted it later or my ears became accustomed to it, but it felt better later (though still over-dominant in the sextet). Damrau's voice was perfectly balanced, however.

[LeMartinPecheur]

Went to Okehampton cinema only really because the production looked, ahem, interesting. I've never been very enthusiastic about the music of Donizetti and Bellini: very pretty if you like noodle-y singing but not really dramatic.

Emerged from cinema absolutely shattered - quite dramatic enough, absolutely gripping.

Not sure it's changed my prejudices totally though: I shan't be rushing to rehear the music on its own, or even in the theatre without a really strong production.

[Flosshilde]

I think there is plenty of drama in Donizetti's & Bellini's music; perhaps you should try Lucia now you've seen a production.

[Richard Tarleton]

Very glad you had that experience, El Martin Pescador!

I've never been very enthusiastic about the music of Donizetti and Bellini: very pretty if you like noodle-y singing but not really dramatic.

What does "noodle-y" mean, is it another word for "coloratura"? Drama a-plenty as Floss says, and when you've looked again at Lucia consider Bellini who has some very different qualities, including his propensity for long, flowing melodies. Verdi said "there are extremely long melodies as no-one else had ever made before", and he was an important influence on Chopin - here's Stephen Hough:

Due to the early influence of Bellini, a 'singing' approach to the keyboard, both lyric and coloratura, is essential in all of Chopin's music.

[jean]

I've never been very enthusiastic about the music of Donizetti and Bellini...

How does Rossini escape?

[LeMartinPecheur]

How does Rossini escape?

He just does! I've always loved Cenerentola with or without visuals, and Comte Ory was a great discovery years ago in the theatre. The Barber so far hasn't really grabbed me though I love some of the solos, esp. Una voce poco fa (a 78 of Amelita Galli-Curci was for some unexplained reason in my father's record collection and a key discovery of my teens). Barber came to Plymouth recently in the WNO Figaro triple bill. Went like a shot to WAM Figaro's Wedding, was tempted by but couldn't fit in Figaro gets a divorce. Barber well back in 3rd I'm afraid

I'd be likely to attend any nearby random Rossini production on spec but not yet Bellini and Donizetti.

It's all a matter of taste innit?

[LeMartinPecheur]

Very glad you had that experience, El Martin Pescador!



What does "noodle-y" mean, is it another word for "coloratura"? Drama a-plenty as Floss says, and when you've looked again at Lucia consider Bellini who has some very different qualities, including his propensity for long, flowing melodies. Verdi said "there are extremely long melodies as no-one else had ever made before", and he was an important influence on Chopin...

Yep, I thought 'noodles' was an accepted synonym for coloratura ornamentation. Fully accept Bellini was a major influence on Chopin for which he earns my gratitude, but have still to get into his music. Still, ROH announced Norma for cinema transmission next season so who knows?

[Only snag with a radical conversion to noodles would be that I've no room on my shelves for many more opera box sets]

[Prommer]

I enjoyed it in the cinema - paradoxically perhaps the 'split screen' wasn't such an irritant on screen, because for much of the time only one half filled our screen.

I understood that the director was trying to give Lucia some self-determination - too much perhaps, as she clearly was not mad when she killed Arturo, the madness only beginning with the onset of the miscarriage (not abortion, unless you think of a miscarriage as a spontaneous abortion).

What I haven't seen mentioned is the decision to dress the women of the chorus as men - this didn't look convincing in closeup. I suppose it was done to isolate Lucia further in her active struggle against the male dominance that surrounded and controlled her.

But what I found most irritating was the corporeality of the ghosts - really, they added nothing - and the presence of a phantom Edgardo for Lucia to interact with in her madness; she was perfectly capable of acting that without a prop. (Reminded me of how much better it is not to see gory locks being shaken.)

Beautifully sung though, and I loved the bathroom. I want it.

Are you my wife?!

Hadn't clocked the women dressed as men in the theatre, but I can be dumb about things like that. Apart from telescoping "it's all about the men" (when it ain't), what is the point of that?

[David-G]

I am very much enjoying the broadcast of this. As on the evening I went, it took a considerable time for Damrau to warm up. Otherwise the singing is excellent. And it is such a relief not to have to look at the "side action". And to be able to hear the chorus properly.

[Il Grande Inquisitor]

It's definitely worth catching the second cast in this.

https://bachtrack.com/review-lucia-lammermoor-kurzak-costello-mitchell-royal-opera-may-2016

[anbonnanbui]

Lucia di Lammermoor

I idly turned on R3 in the car earlier and was pleased to find Lucia being broadcast. At the end of the aria there was applause and I said to myself - must be from the Met - these Americans! I was amazed to discover later it was from Covent Garden. Is this practice commonplace in Britain now?: to be quite candid it makes me cringe. I was viewing Schubert's string quintet on YouTube recently and the audience applauded at the end of the slow movement - is there nothing sacred anymore? Perhaps I am old-fashioned but the concert-going public seems insensitive.