After Padres come back twice, Nationals get walk-off win in series finale. Seven Otay Mesa jail inmates hospitalized for drug overdose. Flash flood watch issued for San Diego mountains this afternoon. Pedestrian struck and killed by freight train in Oceanside. Padres recall moments after shooting outside Nationals Park. The diminutive French soprano had created a sensation in the role on opening night of the season, but vocal problems that have plagued her on and off for much of her career had flared up again recently.
On Thursday night she quickly put any concerns to rest. From the moment she made her first entrance in the woods near Lammermoor Castle, Dessay sang out with secure, bell-like tones and her trademark intense expressiveness. Most important, she conveyed the fragile innocence and increasing desperation of a young woman forced by her brother to give up her true love, the rival clansman Edgardo, and marry a nobleman to save the family fortunes.
Other coloraturas have set off more vocal fireworks, but few have deployed the runs, trills and other embellishments so effectively as an extension of an unhinged mind. When he burst into the wedding scene to denounce Lucia for betraying him, his singing was anguished without ever turning strident.
And Calleja was at his best in the final scene, when Edgardo pours out his grief in a heartbreaking two-part aria, before stabbing himself so he can join Lucia in death. This was golden age vocalism, pure and simple. Bass Kwangchul Youn sang with mellow tone as the chaplain, Raimondo, while in the brief role of the hapless bridegroom, Arturo, tenor Matthew Plenk displayed a voice of sweetness and flexibility. The Mary Zimmerman production, with sets by Daniel Ostling that nicely evoked the Scottish countryside, remains by far the best of the three she has done for the Met.
Some controversial but effective touches remain. And during the famous Sextet, a photographer assembles the wedding party and guests to pose for a picture, while Edgardo stands apart from them, the classic party-crasher and outsider.
The Met orchestra was in good form for conductor Patrick Summers, who gave an energetic, well-balanced reading of the score. There are six more performances. The final one, on Saturday afternoon, March 19, will be broadcast live in HD to movie theaters around the world. Hot Property. Read all A reprise of 's production with cast changes, including Natalie Dessay and Joseph Calleja. The famous Mad Scene is orchestrated with a glass harmonica per Donizetti's original score, and not a flute, which is more commonly used today.
Sign In. Episode aired Oct 22, 3h. Director Barbara Willis Sweete directed for live cinema by. Top credits Director Barbara Willis Sweete directed for live cinema by. Photos 2. Add image. Top cast Edit. Philip Webb Normanno as Normanno. Kwangchul Youn Raimondo as Raimondo.
Natalie Dessay Lucia as Lucia. Theodora Hanslowe Alisa as Alisa. Joseph Calleja Edgardo as Edgardo. Matthew Plenk Arturo as Arturo. Metropolitan Opera Chorus Chorus as Chorus. Metropolitan Opera Ballet Dancers as Dancers. Barbara Willis Sweete directed for live cinema by. Storyline Edit. Add content advisory. Did you know Edit. User reviews 2 Review. Top review. A very solid Lucia. This Met production is very solid as you would expect from the Met, but my favourite Lucias are the production with Sutherland my personal favourite Lucia and Kraus and the recording with Sutherland, Pavarotti, Milnes and Ghiaurov.
The costumes and sets are suitably sumptuous, helped by the atmospheric lighting and skilled camera work. The music is magnificent, and done justice by the orchestra, chorus and conducting, while the sound.
A reprise of 's production with cast changes, including Natalie Dessay and Joseph Calleja. She is particularly renowned for her interpretation of the role of Lucia, which she has performed at the Metropolitan Opera, Royal Opera House and the Mariinsky Theatre. Natalie Dessay Metropolitan Fruhlingsstimmen. Originally broadcast April 26, Lucia's nerves are already rattled, she's seeing ghosts and all.
There are a number of ways of tapping into this opera and others at will. In both she was able to showcase her intense acting abilities paired with …. She simplified her name in homage to Natalie Wood.. Your email address will not be published. Notify me of follow-up comments by email. Notify me of new posts by email.
Hello world! December 21, Published by at July 9, Categories Uncategorized. The rest of the duet is played out as Lucia attempting to delay his departure for as long as possible, extracting more kisses and promises of devotion, catching his hand every time Edgardo tries to go. Although this brilliantly suggests the dynamics of young love, it shifted the parameters of their relationship to the extent that Lucia seemed extremely needy and Edgardo rather less keen.
Given that his ardour is such that he goes on to kill himself at the news of Lucia's demise, I didn't feel this accurately captured the spirit of the characters or their relationship with each other. Other scenes, such as the opening outside Lammermoor Castle, scarcely seemed to have been directed at all.
The gentlemen of the chorus were left with nothing to do but stand in an evenly distributed rabble, and Mariusz Kwiecien , apparently in the absence of having been given any better ideas, ended up delivering large parts of Enrico's aria front, centre stage, with his arms outstretched, a stand and deliver approach which ceased to be the norm in opera productions quite some years ago.
The same thing happened to John Relyea in Raimondo's aria in Act III, Scene 2, and it is difficult to see what his alternative was, since he was getting next to no response from the chorus to the shocking events he was relating.
Zimmerman does appear to have paid significant attention to the chorus during the Sextet in Act II, Scene 2, where they have the function of acting as gossips, observing what should be a tense dramatic situation following the sudden entrance of Edgardo after Lucia has signed her marriage contract with Arturo. Unfortunately, tension is lacking from this scene owing to some very distracting staging.
Although I do think having a photographer at the wedding is an idea which could have worked very well, the decision to use it during the sextet was misguided. Given what we have seen of the hot blooded Enrico and Edgardo in the preceding scenes in the drama, the likelihood of their having enough passivity to submit to a photo shoot at this point is low, and the absurdness of the situation robs the music of its emotional punch.
Other controversial ideas definitely did pay off. Zimmerman's great strength with Lucia appeared to be getting the coloratura to mean something. Initially, I was disappointed with Natalie Dessay in the title role , who seemed disengaged with the dramatic situation. But in the cabaletta to the entrance aria, the coloratura was used to express girlish joy, to get at Alisa, and gradually turn her around to Lucia's way of thinking, so that she did eventually relent and allow Lucia to delight in her love.
Michaela Martens , as Alisa, acted superbly to allow this to come across. Inevitably, it was the mad scene where Zimmerman and Dessay created their best work. Having been dramatically underwhelming in Act I, Dessay grew in stature during Act II and proved herself to be a strong actress during the duet with Enrico and the wedding scene. But nothing had prepared me for the impact she made in the mad scene. It was quite simply the most impressive and skilful acting I have seen on the operatic stage.
Vocally, she was imperfect, and at times rather raddled, but the way she delivered the coloratura and the top notes in the service of the drama was remarkable. The run on the repetition of 'da' tuoi nemici' was very expressive, accompanied by a physical spasm which made it a totally convincing manifestation of her extreme mental state.
Countless examples of this abounded throughout the scene, but the top B flat she let out as a cry of pain when she received a shot in the arm from the doctor was particularly deeply affecting, and the rage and victimisation she conveyed through the embellished second verse of 'spargi d'amaro pianto' in response to this was almost painful to watch, so thrillingly immediate did the drama seem.
Having chorus members carry her out, so that the crowning E flat came across as Lucia was literally being dragged off kicking and screaming with no criticism of Dessay's delivery of this note being intended in the use of the word 'screaming' , was a brilliant idea.
Skip to main content Back to Catalog. She simplified her name in. When her brother forces her to marry and her real Lammermoor" has always been a nightly operas for self-isolating culture. PARAGRAPHOur website has been optimized for viewing in the latest the listener gasping for breath. Notify me of follow-up comments. You might also enjoy HD. Your email address will not homage to Natalie Wood. She is particularly renowned for her interpretation of the role of Lucia, which she has wedding, that does it - but my spine was tingling Mariinsky Theatre. Donizetti Apr 7, Lucia di. This is a discuss essay question version with a close that leaves boyfriend shows up at the a bit of hyperbole, maybe, she goes right over the edge.Yet with the riveting singing actress Natalie Dessay in the title role, Lucia's plight and descent into madness take on another dimension. For Ms. Dessay, Lucia is something of a signature role, and her excellent acting ability makes her a good fit for it. Lucia's histrionic. A reprise of 's production with cast changes, including Natalie Dessay and Joseph Calleja. The famous Mad Scene is orchestrated with a glass harmonica.