Work: Lucia di Lammermoor| Date | Event | Composers, Works, Performers |
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| Wednesday 12-Jun-13 07:00pm |
 Latvian National Opera, RigaLucia di Lammermoor Riga Opera Festival |
Latvian National Opera |
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| Latvian National Opera, Riga, Riga LV-1050, Latvia Wednesday 12-Jun-13 07:00pm Lucia di Lammermoor’s plot is loosely based upon Sir Walter Scott's historical novel The Bride of Lammermoor. The fragile Lucia is caught in a feud between two noble Scottish families. Her dreams of happiness and love fall to pieces in the desperate race for power and fortune... Lucia di Lammermoor is Gaetano Donizzeti’s most celebrated opera; the main reason for its popularity over nearly two centuries rests on one moment – the famous mad scene for the heroine ¬Lucia | ||
| Saturday 7-Sep-13 07:30pm |
Opéra Bastille, Paris Lucia di Lammermoor |
Opéra de Paris Maurizio Benini, Conductor Andrei Serban, Director Ludovic Tézier, Baritone: Enrico Patrizia Ciofi, Soprano: Lucia Vittorio Grigolo, Tenor: Edgardo Alfredo Nigro, Tenor: Arturo Diogenes Randes, Bass: Raimondo Eric Huchet, Tenor: Normanno Choeurs de l'Opéra National de Paris Orchestre de l'Opéra National de Paris |
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| Opéra Bastille, Paris, 120 rue de Lyon, 75012 Paris, France Saturday 7-Sep-13 07:30pm Maurizio Benini, Conductor Andrei Serban, Director Ludovic Tézier, Baritone: Enrico Patrizia Ciofi, Soprano: Lucia Vittorio Grigolo, Tenor: Edgardo Alfredo Nigro, Tenor: Arturo Diogenes Randes, Bass: Raimondo Eric Huchet, Tenor: Normanno Choeurs de l'Opéra National de Paris Orchestre de l'Opéra National de Paris | ||
| Tuesday 10-Sep-13 07:30pm |
Opéra Bastille, Paris Lucia di Lammermoor |
Opéra de Paris Maurizio Benini, Conductor Andrei Serban, Director George Petean, Baritone: Enrico Sonya Yoncheva, Soprano: Lucia Michael Fabiano, Tenor: Edgardo Alfredo Nigro, Tenor: Arturo Diogenes Randes, Bass: Raimondo Eric Huchet, Tenor: Normanno Choeurs de l'Opéra National de Paris Orchestre de l'Opéra National de Paris |
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| Opéra Bastille, Paris, 120 rue de Lyon, 75012 Paris, France Tuesday 10-Sep-13 07:30pm Maurizio Benini, Conductor Andrei Serban, Director George Petean, Baritone: Enrico Sonya Yoncheva, Soprano: Lucia Michael Fabiano, Tenor: Edgardo Alfredo Nigro, Tenor: Arturo Diogenes Randes, Bass: Raimondo Eric Huchet, Tenor: Normanno Choeurs de l'Opéra National de Paris Orchestre de l'Opéra National de Paris | ||
| Friday 13-Sep-13 07:30pm |
Opéra Bastille, Paris Lucia di Lammermoor |
Opéra de Paris Maurizio Benini, Conductor Andrei Serban, Director Ludovic Tézier, Baritone: Enrico Patrizia Ciofi, Soprano: Lucia Vittorio Grigolo, Tenor: Edgardo Alfredo Nigro, Tenor: Arturo Diogenes Randes, Bass: Raimondo Eric Huchet, Tenor: Normanno Choeurs de l'Opéra National de Paris Orchestre de l'Opéra National de Paris |
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| Opéra Bastille, Paris, 120 rue de Lyon, 75012 Paris, France Friday 13-Sep-13 07:30pm Maurizio Benini, Conductor Andrei Serban, Director Ludovic Tézier, Baritone: Enrico Patrizia Ciofi, Soprano: Lucia Vittorio Grigolo, Tenor: Edgardo Alfredo Nigro, Tenor: Arturo Diogenes Randes, Bass: Raimondo Eric Huchet, Tenor: Normanno Choeurs de l'Opéra National de Paris Orchestre de l'Opéra National de Paris | ||
| Tuesday 17-Sep-13 07:30pm |
Opéra Bastille, Paris Lucia di Lammermoor |
Opéra de Paris Maurizio Benini, Conductor Andrei Serban, Director George Petean, Baritone: Enrico Sonya Yoncheva, Soprano: Lucia Michael Fabiano, Tenor: Edgardo Alfredo Nigro, Tenor: Arturo Diogenes Randes, Bass: Raimondo Eric Huchet, Tenor: Normanno Choeurs de l'Opéra National de Paris Orchestre de l'Opéra National de Paris |
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| Opéra Bastille, Paris, 120 rue de Lyon, 75012 Paris, France Tuesday 17-Sep-13 07:30pm Maurizio Benini, Conductor Andrei Serban, Director George Petean, Baritone: Enrico Sonya Yoncheva, Soprano: Lucia Michael Fabiano, Tenor: Edgardo Alfredo Nigro, Tenor: Arturo Diogenes Randes, Bass: Raimondo Eric Huchet, Tenor: Normanno Choeurs de l'Opéra National de Paris Orchestre de l'Opéra National de Paris | ||
| Friday 20-Sep-13 07:30pm |
Opéra Bastille, Paris Lucia di Lammermoor |
Opéra de Paris Maurizio Benini, Conductor Andrei Serban, Director Ludovic Tézier, Baritone: Enrico Patrizia Ciofi, Soprano: Lucia Vittorio Grigolo, Tenor: Edgardo Alfredo Nigro, Tenor: Arturo Diogenes Randes, Bass: Raimondo Eric Huchet, Tenor: Normanno Choeurs de l'Opéra National de Paris Orchestre de l'Opéra National de Paris |
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| Opéra Bastille, Paris, 120 rue de Lyon, 75012 Paris, France Friday 20-Sep-13 07:30pm Maurizio Benini, Conductor Andrei Serban, Director Ludovic Tézier, Baritone: Enrico Patrizia Ciofi, Soprano: Lucia Vittorio Grigolo, Tenor: Edgardo Alfredo Nigro, Tenor: Arturo Diogenes Randes, Bass: Raimondo Eric Huchet, Tenor: Normanno Choeurs de l'Opéra National de Paris Orchestre de l'Opéra National de Paris | ||
| Monday 23-Sep-13 07:30pm |
Opéra Bastille, Paris Lucia di Lammermoor |
Opéra de Paris Maurizio Benini, Conductor Andrei Serban, Director George Petean, Baritone: Enrico Sonya Yoncheva, Soprano: Lucia Michael Fabiano, Tenor: Edgardo Alfredo Nigro, Tenor: Arturo Diogenes Randes, Bass: Raimondo Eric Huchet, Tenor: Normanno Choeurs de l'Opéra National de Paris Orchestre de l'Opéra National de Paris |
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| Opéra Bastille, Paris, 120 rue de Lyon, 75012 Paris, France Monday 23-Sep-13 07:30pm Maurizio Benini, Conductor Andrei Serban, Director George Petean, Baritone: Enrico Sonya Yoncheva, Soprano: Lucia Michael Fabiano, Tenor: Edgardo Alfredo Nigro, Tenor: Arturo Diogenes Randes, Bass: Raimondo Eric Huchet, Tenor: Normanno Choeurs de l'Opéra National de Paris Orchestre de l'Opéra National de Paris | ||
| Thursday 26-Sep-13 07:30pm |
Opéra Bastille, Paris Lucia di Lammermoor |
Opéra de Paris Maurizio Benini, Conductor Andrei Serban, Director Ludovic Tézier, Baritone: Enrico Patrizia Ciofi, Soprano: Lucia Vittorio Grigolo, Tenor: Edgardo Alfredo Nigro, Tenor: Arturo Diogenes Randes, Bass: Raimondo Eric Huchet, Tenor: Normanno Choeurs de l'Opéra National de Paris Orchestre de l'Opéra National de Paris |
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| Opéra Bastille, Paris, 120 rue de Lyon, 75012 Paris, France Thursday 26-Sep-13 07:30pm Maurizio Benini, Conductor Andrei Serban, Director Ludovic Tézier, Baritone: Enrico Patrizia Ciofi, Soprano: Lucia Vittorio Grigolo, Tenor: Edgardo Alfredo Nigro, Tenor: Arturo Diogenes Randes, Bass: Raimondo Eric Huchet, Tenor: Normanno Choeurs de l'Opéra National de Paris Orchestre de l'Opéra National de Paris | ||
| Sunday 29-Sep-13 02:30pm |
Opéra Bastille, Paris Lucia di Lammermoor |
Opéra de Paris Maurizio Benini, Conductor Andrei Serban, Director George Petean, Baritone: Enrico Sonya Yoncheva, Soprano: Lucia Michael Fabiano, Tenor: Edgardo Alfredo Nigro, Tenor: Arturo Diogenes Randes, Bass: Raimondo Eric Huchet, Tenor: Normanno Choeurs de l'Opéra National de Paris Orchestre de l'Opéra National de Paris |
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| Opéra Bastille, Paris, 120 rue de Lyon, 75012 Paris, France Sunday 29-Sep-13 02:30pm Maurizio Benini, Conductor Andrei Serban, Director George Petean, Baritone: Enrico Sonya Yoncheva, Soprano: Lucia Michael Fabiano, Tenor: Edgardo Alfredo Nigro, Tenor: Arturo Diogenes Randes, Bass: Raimondo Eric Huchet, Tenor: Normanno Choeurs de l'Opéra National de Paris Orchestre de l'Opéra National de Paris | ||
| Tuesday 1-Oct-13 07:30pm |
Opéra Bastille, Paris Lucia di Lammermoor |
Opéra de Paris Maurizio Benini, Conductor Andrei Serban, Director Ludovic Tézier, Baritone: Enrico Patrizia Ciofi, Soprano: Lucia Vittorio Grigolo, Tenor: Edgardo Alfredo Nigro, Tenor: Arturo Diogenes Randes, Bass: Raimondo Eric Huchet, Tenor: Normanno Choeurs de l'Opéra National de Paris Orchestre de l'Opéra National de Paris |
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| Opéra Bastille, Paris, 120 rue de Lyon, 75012 Paris, France Tuesday 1-Oct-13 07:30pm Maurizio Benini, Conductor Andrei Serban, Director Ludovic Tézier, Baritone: Enrico Patrizia Ciofi, Soprano: Lucia Vittorio Grigolo, Tenor: Edgardo Alfredo Nigro, Tenor: Arturo Diogenes Randes, Bass: Raimondo Eric Huchet, Tenor: Normanno Choeurs de l'Opéra National de Paris Orchestre de l'Opéra National de Paris | ||
| Friday 4-Oct-13 07:30pm |
Opéra Bastille, Paris Lucia di Lammermoor |
Opéra de Paris Maurizio Benini, Conductor Andrei Serban, Director George Petean, Baritone: Enrico Sonya Yoncheva, Soprano: Lucia Michael Fabiano, Tenor: Edgardo Alfredo Nigro, Tenor: Arturo Diogenes Randes, Bass: Raimondo Eric Huchet, Tenor: Normanno Choeurs de l'Opéra National de Paris Orchestre de l'Opéra National de Paris |
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| Opéra Bastille, Paris, 120 rue de Lyon, 75012 Paris, France Friday 4-Oct-13 07:30pm Maurizio Benini, Conductor Andrei Serban, Director George Petean, Baritone: Enrico Sonya Yoncheva, Soprano: Lucia Michael Fabiano, Tenor: Edgardo Alfredo Nigro, Tenor: Arturo Diogenes Randes, Bass: Raimondo Eric Huchet, Tenor: Normanno Choeurs de l'Opéra National de Paris Orchestre de l'Opéra National de Paris | ||
| Sunday 6-Oct-13 02:30pm |
Opéra Bastille, Paris Lucia di Lammermoor |
Opéra de Paris Maurizio Benini, Conductor Andrei Serban, Director George Petean, Baritone: Enrico Patrizia Ciofi, Soprano: Lucia Vittorio Grigolo, Tenor: Edgardo Alfredo Nigro, Tenor: Arturo Diogenes Randes, Bass: Raimondo Eric Huchet, Tenor: Normanno Choeurs de l'Opéra National de Paris Orchestre de l'Opéra National de Paris |
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| Opéra Bastille, Paris, 120 rue de Lyon, 75012 Paris, France Sunday 6-Oct-13 02:30pm Maurizio Benini, Conductor Andrei Serban, Director George Petean, Baritone: Enrico Patrizia Ciofi, Soprano: Lucia Vittorio Grigolo, Tenor: Edgardo Alfredo Nigro, Tenor: Arturo Diogenes Randes, Bass: Raimondo Eric Huchet, Tenor: Normanno Choeurs de l'Opéra National de Paris Orchestre de l'Opéra National de Paris | ||
| Wednesday 9-Oct-13 07:30pm |
Opéra Bastille, Paris Lucia di Lammermoor |
Opéra de Paris Maurizio Benini, Conductor Andrei Serban, Director George Petean, Baritone: Enrico Sonya Yoncheva, Soprano: Lucia Michael Fabiano, Tenor: Edgardo Alfredo Nigro, Tenor: Arturo Diogenes Randes, Bass: Raimondo Eric Huchet, Tenor: Normanno Choeurs de l'Opéra National de Paris Orchestre de l'Opéra National de Paris |
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| Opéra Bastille, Paris, 120 rue de Lyon, 75012 Paris, France Wednesday 9-Oct-13 07:30pm Maurizio Benini, Conductor Andrei Serban, Director George Petean, Baritone: Enrico Sonya Yoncheva, Soprano: Lucia Michael Fabiano, Tenor: Edgardo Alfredo Nigro, Tenor: Arturo Diogenes Randes, Bass: Raimondo Eric Huchet, Tenor: Normanno Choeurs de l'Opéra National de Paris Orchestre de l'Opéra National de Paris | ||
| Friday 11-Oct-13 07:00pm |
Royal Northern College of Music, Manchester Lucia di Lammermoor |
Opera Seria Philip Gault, Baritone: Enrico Rochelle Hart, Soprano: Lucia Richard Belshaw, Tenor: Edgardo Aaron Cawley, Tenor: Arturo Matthew Kellett, Bass: Raimondo Adam Player, Tenor: Normanno Ella Fontaine, Mezzo-soprano: Alisa Sarah McEvoy, Director Opera Seria Chorus and Ensemble |
| More info... | ||
| Royal Northern College of Music, Manchester, Manchester, United Kingdom Friday 11-Oct-13 07:00pm Philip Gault, Baritone: Enrico Rochelle Hart, Soprano: Lucia Richard Belshaw, Tenor: Edgardo Aaron Cawley, Tenor: Arturo Matthew Kellett, Bass: Raimondo Adam Player, Tenor: Normanno Ella Fontaine, Mezzo-soprano: Alisa Sarah McEvoy, Director Opera Seria Chorus and Ensemble | ||
| Saturday 12-Oct-13 07:00pm |
Royal Northern College of Music, Manchester Lucia di Lammermoor |
Opera Seria Philip Gault, Baritone: Enrico Rochelle Hart, Soprano: Lucia Richard Belshaw, Tenor: Edgardo Aaron Cawley, Tenor: Arturo Matthew Kellett, Bass: Raimondo Adam Player, Tenor: Normanno Ella Fontaine, Mezzo-soprano: Alisa Sarah McEvoy, Director Opera Seria Chorus and Ensemble |
| More info... | ||
| Royal Northern College of Music, Manchester, Manchester, United Kingdom Saturday 12-Oct-13 07:00pm Philip Gault, Baritone: Enrico Rochelle Hart, Soprano: Lucia Richard Belshaw, Tenor: Edgardo Aaron Cawley, Tenor: Arturo Matthew Kellett, Bass: Raimondo Adam Player, Tenor: Normanno Ella Fontaine, Mezzo-soprano: Alisa Sarah McEvoy, Director Opera Seria Chorus and Ensemble | ||
| Friday 31-Jan-14 08:00pm |
Opéra de Marseille Lucia di Lammermoor |
Opéra de Marseille Alain Guingal, Conductor Frédéric-Bélier Garcia, Director Jacques Gabel, Set Designer Eglise Gutiérrez, Soprano: Lucia Lucie Roche, Mezzo-soprano: Alisa Stanislas de Barbeyrac, Tenor: Arturo Giuseppe Gipali, Tenor: Edgardo Marc Larcher, Tenor: Normanno Marc Barrard, Baritone: Enrico Wojtek Smilek, Baritone: Raimondo |
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| Opéra de Marseille, 2 rue Molière, 13001 Marseille, France Friday 31-Jan-14 08:00pm Image credit: Christian Dresse Alain Guingal, Conductor Frédéric-Bélier Garcia, Director Jacques Gabel, Set Designer Eglise Gutiérrez, Soprano: Lucia Lucie Roche, Mezzo-soprano: Alisa Stanislas de Barbeyrac, Tenor: Arturo Giuseppe Gipali, Tenor: Edgardo Marc Larcher, Tenor: Normanno Marc Barrard, Baritone: Enrico Wojtek Smilek, Baritone: Raimondo | ||
| Saturday 1-Feb-14 08:00pm |
Opéra de Marseille Lucia di Lammermoor |
Opéra de Marseille Alain Guingal, Conductor Frédéric-Bélier Garcia, Director Jacques Gabel, Set Designer Suzanna Markova, Soprano: Lucia Lucie Roche, Mezzo-soprano: Alisa Stanislas de Barbeyrac, Tenor: Arturo Arnold Rutkowski, Tenor: Edgardo Marc Larcher, Tenor: Normanno Gezim Myshketa, Baritone: Enrico Nicolas Testé, Bass: Raimondo |
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| Opéra de Marseille, 2 rue Molière, 13001 Marseille, France Saturday 1-Feb-14 08:00pm Image credit: Christian Dresse Alain Guingal, Conductor Frédéric-Bélier Garcia, Director Jacques Gabel, Set Designer Suzanna Markova, Soprano: Lucia Lucie Roche, Mezzo-soprano: Alisa Stanislas de Barbeyrac, Tenor: Arturo Arnold Rutkowski, Tenor: Edgardo Marc Larcher, Tenor: Normanno Gezim Myshketa, Baritone: Enrico Nicolas Testé, Bass: Raimondo | ||
| Sunday 2-Feb-14 02:30am |
Opéra de Marseille Lucia di Lammermoor |
Opéra de Marseille Alain Guingal, Conductor Frédéric-Bélier Garcia, Director Jacques Gabel, Set Designer Eglise Gutiérrez, Soprano: Lucia Lucie Roche, Mezzo-soprano: Alisa Stanislas de Barbeyrac, Tenor: Arturo Giuseppe Gipali, Tenor: Edgardo Marc Larcher, Tenor: Normanno Marc Barrard, Baritone: Enrico Wojtek Smilek, Baritone: Raimondo |
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| Opéra de Marseille, 2 rue Molière, 13001 Marseille, France Sunday 2-Feb-14 02:30am Image credit: Christian Dresse Alain Guingal, Conductor Frédéric-Bélier Garcia, Director Jacques Gabel, Set Designer Eglise Gutiérrez, Soprano: Lucia Lucie Roche, Mezzo-soprano: Alisa Stanislas de Barbeyrac, Tenor: Arturo Giuseppe Gipali, Tenor: Edgardo Marc Larcher, Tenor: Normanno Marc Barrard, Baritone: Enrico Wojtek Smilek, Baritone: Raimondo | ||
| Tuesday 4-Feb-14 08:00pm |
Opéra de Marseille Lucia di Lammermoor |
Opéra de Marseille Alain Guingal, Conductor Frédéric-Bélier Garcia, Director Jacques Gabel, Set Designer Eglise Gutiérrez, Soprano: Lucia Lucie Roche, Mezzo-soprano: Alisa Stanislas de Barbeyrac, Tenor: Arturo Giuseppe Gipali, Tenor: Edgardo Marc Larcher, Tenor: Normanno Marc Barrard, Baritone: Enrico Wojtek Smilek, Baritone: Raimondo |
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| Opéra de Marseille, 2 rue Molière, 13001 Marseille, France Tuesday 4-Feb-14 08:00pm Image credit: Christian Dresse Alain Guingal, Conductor Frédéric-Bélier Garcia, Director Jacques Gabel, Set Designer Eglise Gutiérrez, Soprano: Lucia Lucie Roche, Mezzo-soprano: Alisa Stanislas de Barbeyrac, Tenor: Arturo Giuseppe Gipali, Tenor: Edgardo Marc Larcher, Tenor: Normanno Marc Barrard, Baritone: Enrico Wojtek Smilek, Baritone: Raimondo | ||
| Wednesday 5-Feb-14 08:00pm |
Opéra de Marseille Lucia di Lammermoor |
Opéra de Marseille Alain Guingal, Conductor Frédéric-Bélier Garcia, Director Jacques Gabel, Set Designer Suzanna Markova, Soprano: Lucia Lucie Roche, Mezzo-soprano: Alisa Stanislas de Barbeyrac, Tenor: Arturo Arnold Rutkowski, Tenor: Edgardo Marc Larcher, Tenor: Normanno Gezim Myshketa, Baritone: Enrico Nicolas Testé, Bass: Raimondo |
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| Opéra de Marseille, 2 rue Molière, 13001 Marseille, France Wednesday 5-Feb-14 08:00pm Image credit: Christian Dresse Alain Guingal, Conductor Frédéric-Bélier Garcia, Director Jacques Gabel, Set Designer Suzanna Markova, Soprano: Lucia Lucie Roche, Mezzo-soprano: Alisa Stanislas de Barbeyrac, Tenor: Arturo Arnold Rutkowski, Tenor: Edgardo Marc Larcher, Tenor: Normanno Gezim Myshketa, Baritone: Enrico Nicolas Testé, Bass: Raimondo | ||
| Thursday 6-Feb-14 08:00pm |
Opéra de Marseille Lucia di Lammermoor |
Opéra de Marseille Alain Guingal, Conductor Frédéric-Bélier Garcia, Director Jacques Gabel, Set Designer Eglise Gutiérrez, Soprano: Lucia Lucie Roche, Mezzo-soprano: Alisa Stanislas de Barbeyrac, Tenor: Arturo Giuseppe Gipali, Tenor: Edgardo Marc Larcher, Tenor: Normanno Marc Barrard, Baritone: Enrico Wojtek Smilek, Baritone: Raimondo |
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| Opéra de Marseille, 2 rue Molière, 13001 Marseille, France Thursday 6-Feb-14 08:00pm Image credit: Christian Dresse Alain Guingal, Conductor Frédéric-Bélier Garcia, Director Jacques Gabel, Set Designer Eglise Gutiérrez, Soprano: Lucia Lucie Roche, Mezzo-soprano: Alisa Stanislas de Barbeyrac, Tenor: Arturo Giuseppe Gipali, Tenor: Edgardo Marc Larcher, Tenor: Normanno Marc Barrard, Baritone: Enrico Wojtek Smilek, Baritone: Raimondo | ||
| Saturday 15-Mar-14 07:30pm |
Deutsche Oper, Berlin Lucia di Lammermoor |
Deutsche Oper Berlin Guillermo Garcia Calvo, Conductor Filippo Sanjust, Director Aleksandra Kurzak, Soprano: Lucia Katarina Bradić, Mezzo-soprano: Alisa Matthew Newlin, Tenor: Arturo Celso Albelo, Tenor: Edgardo Thomas Blondelle, Tenor: Normanno Bastiaan Everink, Baritone: Enrico Marko Mimica, Bass: Raimondo |
-Bettina-Stöß.jpg "Image credit: Bettina Stöß") | ||
| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Saturday 15-Mar-14 07:30pm In Italian with German surtitles.
Enrico wishes to marry off his sister Lucia to the mighty Lord Arturo Bucklaw in order to save himself from ruin. Lucia has sworn eternal loyalty to Edgardo Ravenswood, Enrico's mortal foe, who is citing ancient laws in support of his claim as the rightful owner of Enrico's lands. Enrico forges a letter in which Edgardo is accused of infidelity and Lucia held responsible for the family ruin. Enrico manages to persuade Lucia to marry Lord Bucklaw. Edgardo appears at the wedding and curses Lucia. She kills her husband. Edgardo challenges Enrico to a duel. Lucia is stricken by a madness that leads to her death. Upon hearing the death knell Edgardo stabs himself. Based on Sir Walter Scott's famous novel of 1819 The Bride of Lammermoor, this is perhaps Donizetti's most popular tragic opera. In his libretto Salvatore Cammarano has chosen a radical path: not only has he relegated the politics of the conflict between the Ashtons and Ravenswoods to the background, and reduced the preceding events to hints in the dialogue; he has also limited the complex entanglement of relationships in the novel to the conflicts between Enrico Ashton, his sister Lucia and her lover Edgardo. Director and set designer Filippo Sanjust's production is set around the period that the work was written (1835). An interim curtain depicting a billowing royal blue curtain and the ghostly, fluttering dress of a girl is the device used to suggest the romantic theatrical space. The stage images remind us of reprint editions of ancient tomes. The black costumes, red sashes, white collars, plumes and gauntlets of the Scotsmen form an opulent contrast and a befitting frame for one of the major works of Italian bel canto. It was Maria Callas who gave a new lease of life to the works of Donizetti, works that had also been neglected in Italy. We know Callas' intense, vibrato-free expression of feeling from vinyl recordings. Just as she did for many roles in the high dramatic Coloratura genre, Callas set a benchmark for the interpretation of Lucia. Extreme passions dictate the actions of the protagonists - on the one hand Enrico's hatred of Edgardo (Cavatina “Cruda … funesta smania'” Act 1), and of Lucia, who opposes his plans; on the other hand Lucia's love for Edgardo (Cavatina “Regna nel silenzio”, Act 1). That this love will be Lucia's downfall is masterfully portrayed by Donizetti’s music: the same Coloratura that describes how overwhelmed she is by love in Act 1 become indicators of her madness in her insanity aria at the climax of the opera. Another moment of high emotional drama comes in the sextet “Chi mi frena in tal momento” in Act 2. Giacomo Puccini wrote: “In one respect we Italians surpass the German composers: we are capable of expressing immeasurable sadness in the Major Key. Edgardo and Lucia are in despair, so much so that Lucia finally goes mad and Edgardo commits suicide; and what do we find in the vocal part? Sugared plums! Honeyed sweetness! – Although Lucia is singing: “I have been abandoned by heaven and earth! I would cry, but there are no tears for me. Desperation consumes my heart.” This sextet is rightfully seen as the most famous ensemble melody ever written for an opera – it is a polyphonic masterpiece …” Image credit: Bettina Stöß Guillermo Garcia Calvo, Conductor Filippo Sanjust, Director Aleksandra Kurzak, Soprano: Lucia Katarina Bradić, Mezzo-soprano: Alisa Matthew Newlin, Tenor: Arturo Celso Albelo, Tenor: Edgardo Thomas Blondelle, Tenor: Normanno Bastiaan Everink, Baritone: Enrico Marko Mimica, Bass: Raimondo | ||
| Wednesday 19-Mar-14 07:30pm |
Deutsche Oper, Berlin Lucia di Lammermoor |
Deutsche Oper Berlin Guillermo Garcia Calvo, Conductor Filippo Sanjust, Director Aleksandra Kurzak, Soprano: Lucia Katarina Bradić, Mezzo-soprano: Alisa Matthew Newlin, Tenor: Arturo Celso Albelo, Tenor: Edgardo Thomas Blondelle, Tenor: Normanno Bastiaan Everink, Baritone: Enrico Marko Mimica, Bass: Raimondo |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Wednesday 19-Mar-14 07:30pm In Italian with German surtitles.
Enrico wishes to marry off his sister Lucia to the mighty Lord Arturo Bucklaw in order to save himself from ruin. Lucia has sworn eternal loyalty to Edgardo Ravenswood, Enrico's mortal foe, who is citing ancient laws in support of his claim as the rightful owner of Enrico's lands. Enrico forges a letter in which Edgardo is accused of infidelity and Lucia held responsible for the family ruin. Enrico manages to persuade Lucia to marry Lord Bucklaw. Edgardo appears at the wedding and curses Lucia. She kills her husband. Edgardo challenges Enrico to a duel. Lucia is stricken by a madness that leads to her death. Upon hearing the death knell Edgardo stabs himself. Based on Sir Walter Scott's famous novel of 1819 The Bride of Lammermoor, this is perhaps Donizetti's most popular tragic opera. In his libretto Salvatore Cammarano has chosen a radical path: not only has he relegated the politics of the conflict between the Ashtons and Ravenswoods to the background, and reduced the preceding events to hints in the dialogue; he has also limited the complex entanglement of relationships in the novel to the conflicts between Enrico Ashton, his sister Lucia and her lover Edgardo. Director and set designer Filippo Sanjust's production is set around the period that the work was written (1835). An interim curtain depicting a billowing royal blue curtain and the ghostly, fluttering dress of a girl is the device used to suggest the romantic theatrical space. The stage images remind us of reprint editions of ancient tomes. The black costumes, red sashes, white collars, plumes and gauntlets of the Scotsmen form an opulent contrast and a befitting frame for one of the major works of Italian bel canto. It was Maria Callas who gave a new lease of life to the works of Donizetti, works that had also been neglected in Italy. We know Callas' intense, vibrato-free expression of feeling from vinyl recordings. Just as she did for many roles in the high dramatic Coloratura genre, Callas set a benchmark for the interpretation of Lucia. Extreme passions dictate the actions of the protagonists - on the one hand Enrico's hatred of Edgardo (Cavatina “Cruda … funesta smania'” Act 1), and of Lucia, who opposes his plans; on the other hand Lucia's love for Edgardo (Cavatina “Regna nel silenzio”, Act 1). That this love will be Lucia's downfall is masterfully portrayed by Donizetti’s music: the same Coloratura that describes how overwhelmed she is by love in Act 1 become indicators of her madness in her insanity aria at the climax of the opera. Another moment of high emotional drama comes in the sextet “Chi mi frena in tal momento” in Act 2. Giacomo Puccini wrote: “In one respect we Italians surpass the German composers: we are capable of expressing immeasurable sadness in the Major Key. Edgardo and Lucia are in despair, so much so that Lucia finally goes mad and Edgardo commits suicide; and what do we find in the vocal part? Sugared plums! Honeyed sweetness! – Although Lucia is singing: “I have been abandoned by heaven and earth! I would cry, but there are no tears for me. Desperation consumes my heart.” This sextet is rightfully seen as the most famous ensemble melody ever written for an opera – it is a polyphonic masterpiece …” Image credit: Bettina Stöß Guillermo Garcia Calvo, Conductor Filippo Sanjust, Director Aleksandra Kurzak, Soprano: Lucia Katarina Bradić, Mezzo-soprano: Alisa Matthew Newlin, Tenor: Arturo Celso Albelo, Tenor: Edgardo Thomas Blondelle, Tenor: Normanno Bastiaan Everink, Baritone: Enrico Marko Mimica, Bass: Raimondo | ||
| Sunday 23-Mar-14 06:00pm |
Deutsche Oper, Berlin Lucia di Lammermoor |
Deutsche Oper Berlin Guillermo Garcia Calvo, Conductor Filippo Sanjust, Director Aleksandra Kurzak, Soprano: Lucia Katarina Bradić, Mezzo-soprano: Alisa Matthew Newlin, Tenor: Arturo Celso Albelo, Tenor: Edgardo Thomas Blondelle, Tenor: Normanno Bastiaan Everink, Baritone: Enrico Marko Mimica, Bass: Raimondo |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Sunday 23-Mar-14 06:00pm In Italian with German surtitles.
Enrico wishes to marry off his sister Lucia to the mighty Lord Arturo Bucklaw in order to save himself from ruin. Lucia has sworn eternal loyalty to Edgardo Ravenswood, Enrico's mortal foe, who is citing ancient laws in support of his claim as the rightful owner of Enrico's lands. Enrico forges a letter in which Edgardo is accused of infidelity and Lucia held responsible for the family ruin. Enrico manages to persuade Lucia to marry Lord Bucklaw. Edgardo appears at the wedding and curses Lucia. She kills her husband. Edgardo challenges Enrico to a duel. Lucia is stricken by a madness that leads to her death. Upon hearing the death knell Edgardo stabs himself. Based on Sir Walter Scott's famous novel of 1819 The Bride of Lammermoor, this is perhaps Donizetti's most popular tragic opera. In his libretto Salvatore Cammarano has chosen a radical path: not only has he relegated the politics of the conflict between the Ashtons and Ravenswoods to the background, and reduced the preceding events to hints in the dialogue; he has also limited the complex entanglement of relationships in the novel to the conflicts between Enrico Ashton, his sister Lucia and her lover Edgardo. Director and set designer Filippo Sanjust's production is set around the period that the work was written (1835). An interim curtain depicting a billowing royal blue curtain and the ghostly, fluttering dress of a girl is the device used to suggest the romantic theatrical space. The stage images remind us of reprint editions of ancient tomes. The black costumes, red sashes, white collars, plumes and gauntlets of the Scotsmen form an opulent contrast and a befitting frame for one of the major works of Italian bel canto. It was Maria Callas who gave a new lease of life to the works of Donizetti, works that had also been neglected in Italy. We know Callas' intense, vibrato-free expression of feeling from vinyl recordings. Just as she did for many roles in the high dramatic Coloratura genre, Callas set a benchmark for the interpretation of Lucia. Extreme passions dictate the actions of the protagonists - on the one hand Enrico's hatred of Edgardo (Cavatina “Cruda … funesta smania'” Act 1), and of Lucia, who opposes his plans; on the other hand Lucia's love for Edgardo (Cavatina “Regna nel silenzio”, Act 1). That this love will be Lucia's downfall is masterfully portrayed by Donizetti’s music: the same Coloratura that describes how overwhelmed she is by love in Act 1 become indicators of her madness in her insanity aria at the climax of the opera. Another moment of high emotional drama comes in the sextet “Chi mi frena in tal momento” in Act 2. Giacomo Puccini wrote: “In one respect we Italians surpass the German composers: we are capable of expressing immeasurable sadness in the Major Key. Edgardo and Lucia are in despair, so much so that Lucia finally goes mad and Edgardo commits suicide; and what do we find in the vocal part? Sugared plums! Honeyed sweetness! – Although Lucia is singing: “I have been abandoned by heaven and earth! I would cry, but there are no tears for me. Desperation consumes my heart.” This sextet is rightfully seen as the most famous ensemble melody ever written for an opera – it is a polyphonic masterpiece …” Image credit: Bettina Stöß Guillermo Garcia Calvo, Conductor Filippo Sanjust, Director Aleksandra Kurzak, Soprano: Lucia Katarina Bradić, Mezzo-soprano: Alisa Matthew Newlin, Tenor: Arturo Celso Albelo, Tenor: Edgardo Thomas Blondelle, Tenor: Normanno Bastiaan Everink, Baritone: Enrico Marko Mimica, Bass: Raimondo | ||
| Friday 9-May-14 07:30pm |
Deutsche Oper, Berlin Lucia di Lammermoor |
Deutsche Oper Berlin Ivan Repusic, Conductor Filippo Sanjust, Director Hulkar Sabirova, Soprano: Lucia Katarina Bradić, Mezzo-soprano: Alisa Matthew Newlin, Tenor: Arturo Yosep Kang, Tenor: Edgardo Jörg Schörner, Tenor: Normanno Bastiaan Everink, Baritone: Enrico Marko Mimica, Bass: Raimondo |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Friday 9-May-14 07:30pm In Italian with German surtitles.
Enrico wishes to marry off his sister Lucia to the mighty Lord Arturo Bucklaw in order to save himself from ruin. Lucia has sworn eternal loyalty to Edgardo Ravenswood, Enrico's mortal foe, who is citing ancient laws in support of his claim as the rightful owner of Enrico's lands. Enrico forges a letter in which Edgardo is accused of infidelity and Lucia held responsible for the family ruin. Enrico manages to persuade Lucia to marry Lord Bucklaw. Edgardo appears at the wedding and curses Lucia. She kills her husband. Edgardo challenges Enrico to a duel. Lucia is stricken by a madness that leads to her death. Upon hearing the death knell Edgardo stabs himself. Based on Sir Walter Scott's famous novel of 1819 The Bride of Lammermoor, this is perhaps Donizetti's most popular tragic opera. In his libretto Salvatore Cammarano has chosen a radical path: not only has he relegated the politics of the conflict between the Ashtons and Ravenswoods to the background, and reduced the preceding events to hints in the dialogue; he has also limited the complex entanglement of relationships in the novel to the conflicts between Enrico Ashton, his sister Lucia and her lover Edgardo. Director and set designer Filippo Sanjust's production is set around the period that the work was written (1835). An interim curtain depicting a billowing royal blue curtain and the ghostly, fluttering dress of a girl is the device used to suggest the romantic theatrical space. The stage images remind us of reprint editions of ancient tomes. The black costumes, red sashes, white collars, plumes and gauntlets of the Scotsmen form an opulent contrast and a befitting frame for one of the major works of Italian bel canto. It was Maria Callas who gave a new lease of life to the works of Donizetti, works that had also been neglected in Italy. We know Callas' intense, vibrato-free expression of feeling from vinyl recordings. Just as she did for many roles in the high dramatic Coloratura genre, Callas set a benchmark for the interpretation of Lucia. Extreme passions dictate the actions of the protagonists - on the one hand Enrico's hatred of Edgardo (Cavatina “Cruda … funesta smania'” Act 1), and of Lucia, who opposes his plans; on the other hand Lucia's love for Edgardo (Cavatina “Regna nel silenzio”, Act 1). That this love will be Lucia's downfall is masterfully portrayed by Donizetti’s music: the same Coloratura that describes how overwhelmed she is by love in Act 1 become indicators of her madness in her insanity aria at the climax of the opera. Another moment of high emotional drama comes in the sextet “Chi mi frena in tal momento” in Act 2. Giacomo Puccini wrote: “In one respect we Italians surpass the German composers: we are capable of expressing immeasurable sadness in the Major Key. Edgardo and Lucia are in despair, so much so that Lucia finally goes mad and Edgardo commits suicide; and what do we find in the vocal part? Sugared plums! Honeyed sweetness! – Although Lucia is singing: “I have been abandoned by heaven and earth! I would cry, but there are no tears for me. Desperation consumes my heart.” This sextet is rightfully seen as the most famous ensemble melody ever written for an opera – it is a polyphonic masterpiece …” Image credit: Bettina Stöß Ivan Repusic, Conductor Filippo Sanjust, Director Hulkar Sabirova, Soprano: Lucia Katarina Bradić, Mezzo-soprano: Alisa Matthew Newlin, Tenor: Arturo Yosep Kang, Tenor: Edgardo Jörg Schörner, Tenor: Normanno Bastiaan Everink, Baritone: Enrico Marko Mimica, Bass: Raimondo | ||
| Friday 16-May-14 07:30pm |
Deutsche Oper, Berlin Lucia di Lammermoor |
Deutsche Oper Berlin Ivan Repusic, Conductor Filippo Sanjust, Director Hulkar Sabirova, Soprano: Lucia Katarina Bradić, Mezzo-soprano: Alisa Matthew Newlin, Tenor: Arturo Yosep Kang, Tenor: Edgardo Jörg Schörner, Tenor: Normanno Bastiaan Everink, Baritone: Enrico Marko Mimica, Bass: Raimondo |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Friday 16-May-14 07:30pm In Italian with German surtitles.
Enrico wishes to marry off his sister Lucia to the mighty Lord Arturo Bucklaw in order to save himself from ruin. Lucia has sworn eternal loyalty to Edgardo Ravenswood, Enrico's mortal foe, who is citing ancient laws in support of his claim as the rightful owner of Enrico's lands. Enrico forges a letter in which Edgardo is accused of infidelity and Lucia held responsible for the family ruin. Enrico manages to persuade Lucia to marry Lord Bucklaw. Edgardo appears at the wedding and curses Lucia. She kills her husband. Edgardo challenges Enrico to a duel. Lucia is stricken by a madness that leads to her death. Upon hearing the death knell Edgardo stabs himself. Based on Sir Walter Scott's famous novel of 1819 The Bride of Lammermoor, this is perhaps Donizetti's most popular tragic opera. In his libretto Salvatore Cammarano has chosen a radical path: not only has he relegated the politics of the conflict between the Ashtons and Ravenswoods to the background, and reduced the preceding events to hints in the dialogue; he has also limited the complex entanglement of relationships in the novel to the conflicts between Enrico Ashton, his sister Lucia and her lover Edgardo. Director and set designer Filippo Sanjust's production is set around the period that the work was written (1835). An interim curtain depicting a billowing royal blue curtain and the ghostly, fluttering dress of a girl is the device used to suggest the romantic theatrical space. The stage images remind us of reprint editions of ancient tomes. The black costumes, red sashes, white collars, plumes and gauntlets of the Scotsmen form an opulent contrast and a befitting frame for one of the major works of Italian bel canto. It was Maria Callas who gave a new lease of life to the works of Donizetti, works that had also been neglected in Italy. We know Callas' intense, vibrato-free expression of feeling from vinyl recordings. Just as she did for many roles in the high dramatic Coloratura genre, Callas set a benchmark for the interpretation of Lucia. Extreme passions dictate the actions of the protagonists - on the one hand Enrico's hatred of Edgardo (Cavatina “Cruda … funesta smania'” Act 1), and of Lucia, who opposes his plans; on the other hand Lucia's love for Edgardo (Cavatina “Regna nel silenzio”, Act 1). That this love will be Lucia's downfall is masterfully portrayed by Donizetti’s music: the same Coloratura that describes how overwhelmed she is by love in Act 1 become indicators of her madness in her insanity aria at the climax of the opera. Another moment of high emotional drama comes in the sextet “Chi mi frena in tal momento” in Act 2. Giacomo Puccini wrote: “In one respect we Italians surpass the German composers: we are capable of expressing immeasurable sadness in the Major Key. Edgardo and Lucia are in despair, so much so that Lucia finally goes mad and Edgardo commits suicide; and what do we find in the vocal part? Sugared plums! Honeyed sweetness! – Although Lucia is singing: “I have been abandoned by heaven and earth! I would cry, but there are no tears for me. Desperation consumes my heart.” This sextet is rightfully seen as the most famous ensemble melody ever written for an opera – it is a polyphonic masterpiece …” Image credit: Bettina Stöß Ivan Repusic, Conductor Filippo Sanjust, Director Hulkar Sabirova, Soprano: Lucia Katarina Bradić, Mezzo-soprano: Alisa Matthew Newlin, Tenor: Arturo Yosep Kang, Tenor: Edgardo Jörg Schörner, Tenor: Normanno Bastiaan Everink, Baritone: Enrico Marko Mimica, Bass: Raimondo | ||
