OPERA REVIEW OF CAPITOL OPERA'S PRODUCTION OF
LUCIA DI LAMMERMOOR
Opera Review: Less proves more in 'Lammermoor'
By Patricia Beach Smith
Bee Arts Critic
(Published April 2, 2001)
Dressed as characters from an Anne Rice novel with a little Rocky Horror Picture Show mixed in, Capitol Opera Sacramento offered an interesting, minimalist take on Gaetano Donizetti's tragic "Lucia de Lammermoor" in Carmichael on Friday.
Playing through April 29, this well-directed basic-black production about an avaricious brother who forces his confused sister to marry a stranger to save the family's political and financial lives, was given its au courant spin by director Frank James in a welcome Capitol Opera debut.
James cleverly established a cadre of well-defined characters throughout, but especially the in-your-face Normanno (Marisa Matthews) whose persona was terrorista complete with machine gun. The bare black-box set, a minimum of props (such as flashlights) and well-designed lighting also helped.
The suffering Lucia (Lisa Derthick), unbeknownst to her brother Enrico (Lanny Malfar), has declared her love for and thus wears the ring of her brother's avowed enemy Edgardo (Sethisak Khuon). Derthick was vocally and dramatically formidable as she deftly worked her way through the opera's six moody scenes. Passing by ecstasy, horror and depression to final desperate madness, driven by being denounced by her lover, shamed by her brother and deflowered by Arturo (Leroy Furgesen), the sham husband she murders. His blood on her satin nightgown was the only real color in this realistic, gruesome production.
An indignant Edgardo was given punch by Khuon's considerable acting skills, even if his voice is not so well developed. His dry, vibrato-less tenor was often thrilling.
Blues Brother look-alike Malfar, who never has sung better than on Friday added the vocal subtly, nuance and dynamic variety. Baritone Roger Smith as the devious cleric Raimondo also gave a stirring performance.
Music director Sean Bianco must be commended for a cast that was focused and deliberate. Pianist Charles Talmadge was practically miraculous in his effort to hold everything together from the piano.
