Performances will take place from September 17 through October 9, 2022, at the Dorothy Chandler Pavilion.
Lina González-Granados leads the proceedings in her debut outing as the company's new Resident Conductor. (Los Angeles) AugLA Opera opens its 2022/23 season with a sensational new production of Lucia di Lammermoor, Gaetano Donizetti's spellbinding tale of marriage, madness and murder. In so many productions, the tomb scene that ends the opera seems hopelessly anticlimactic after Lucia’s unraveling, but in this performance Donizetti’s structure finally made sense.Lina González-Granados makes her company debut as Resident Conductor Even Arturo, the arranged husband Lucia murders, was charming as sung by the young tenor Matthew Plenk.Īnd Joseph Calleja was sensationally ardent as Lucia’s lover, Edgardo, one of the best roles of his young, exciting Met career. Kwangchul Youn had burnished tone and great dignity as the well-meaning chaplain Raimondo. The manipulative brother Enrico, sung richly and acted with laconic ruefulness by Ludovic Tézier, seems almost reasonable in his heartless demands. With a thoroughly vacant Lucia, the opera is imbalanced: the men, perversely, are the sympathetic ones here, down to the crisp conducting of Patrick Summers. By the time she delivers a fine, tensely eerie mad scene, the stakes of the drama that queasy, distinctively operatic blend of empathy for and exhilaration over the heroine’s degradation are almost entirely forfeit. Her little fidgets, eye motions and twitches around the mouth register in the high definition of extreme movie theater close-ups, but they disappear in the opera house, along with our interest. With an eye, perhaps, to its growing live simulcast audiences, the Met’s recent productions can seem directed at the camera rather than the audience in the theater.
0 kommentar(er)
