OPERA REVIEW OF CAPITOL OPERA'S PRODUCTION OF
LUCIA DI LAMMERMOOR
Published ?
Opera review: "The opera Lucia di Lammermoor gloriously devastates the Sanchez Concert Hall"
By Jean Bartlett -- Pacifica Tribune
What happens when a know-it-all no-good sibling makes all the wrong choices for his sister in marriage? That is the undercurrent of the opera "Lucia di Lammermoor" by composer Gaetano Donizetti and librettist Salvatore Cammarano. The opera based on the Sir Walter Scott novel " The Bride of Lammermorro" was presented Sunday afternoon at Pacifica Performances Sanchez Concert Hall. The opera was staged by Capitol Opera Sacramento and directed by Acting Artistic Director Pamela Kay Lourentozos. There were no super titles but there was a crystal clear and concise informed narrative by Lourentozos. Recorded orchestration was at times too loud and occasionally sputtered intrusive, however Jamie Bonetto in the lead role (Lucia) has a glorious coloratura soprano that made audience members easily settle in for a marvelous day at the opera.
Cast members were as follows: Jamie Bonetto as Lucia; bass-baritone Ivan Amaro and Enrico; tenor Fred Winthrop as Edgardo; lyric soprano Lisa Derthick as Alisa; tenor Piet Van Allen as Arturo; bass baritone Roger Smith as Raimondo; and dramatic tenor Gerard Nakasch as Normanno. The performance also featured dancer Kelly Scroggin striking poses of balance and dream in between scenes of exploding devastation.
Here's the situation. The year is 1700. The place is Scotland. Lord Henry Ashton of Lammermoor, known a Enrico to his friends, has temporarily won the feud between his family and the Ravenswood clan, How did he do this? By killing the kinsmen of Edgar of Ravenswood and taking over "Edgardo's" estates. However Enrico is not so good with keeping his profits in the black and realizes that his political power will flow down the proverbial drain unless he marries his sister Lucy, yes she goes by Lucia, to one of the wealthiest guys in the neighborhood. And that fellow's name is Lord Arthur Bucklaw, aka, Arturo. Now, did Enrico talk to his sister Lucia about this? Of course not; which is what allows this tale to continue and become a tragedy.
Yee gads, Lucia is in love with Edgardo. While Lucia waits near a fountain haunted by a maiden ghost who has warned Lucia her love will come to no good, Lucia's confidante, Alisa, tells Lucia frankly the same thing. Ah but who can hear reason when love's deafening pound is knocking on one's heart?
Lucia and Edgardo confess their true love, exchange rings as sign of their eternal fidelity, which will begin as soon as Edgardo returns from an inconvenient visit to France. Meanwhile the captain of the guard, Normanno, informs Enrico that he knows Lucia and Edgardo have been meeting secretly, Naturally this reminds Enrico to get off the dime and make his own devious plans for his sister and immediate reality.
Enrico and Raimondo (Lucia's elderly tutor) convince the young woman that Edgardo is off being a cad. Though she protests, and makes it quite clear that she love only Edgardo; Lucia eventually signs an agreement to marry Arturo. Right after that document is signed and the bride stares at her new groom in complete horror and with an immediately drifting mind, Edgardo bursts into the room with sword. Too late. Enraged and clueless, Edgardo yanks the ring he gave his true love from her finger and curses her. Lucia off stage, accidentally on purpose kills her enforced husband. Then she dies. Then Edgardo dies shortly after seeing Lucia's coffin go by. This is not a happy day in the neighborhood. However, as this story relates to opera, It is one of the best stories around and many of the melodies are magnificent.
As Lucia, Jamie Bonetto sailed with tonal purity and exhilarating grace through stratospheric layers of vocal pyrotechnics. She was sculpted, she was liquid, she melted and she weaved. Her dramatic truth and confidence in this role gave us nothing overwrought. More so Bonetto's Lucia was a fragile, lost soul quite simply clutching with empty hands at what should have been. Her relationship with Edgardo ( tenor Winthrop) was quite believable. Winthroup and Bonetto matched each other with obvious charisma and his tenor was articulate, full and serene.
Despite the exquisite rottenness of his character, Ivan Amaro as Enrico know his way around heavenly cadence with his very persuasive, world class bass-baritone. Bass-baritone Roger Smith sang a noble Raimondo, though alas his quiet disarming vocal was occasionally lost to the soar of the prerecorded music. Ditto on the raspy dramatic tenor of Gerard Nakach as Normanno. Though Piet Van Allen and arturo was a lout; there was immense virtue in the timbre of his vocal and Lisa Derthick had a breathtaking soprano poise.
Costumes were artistic, well-fitted and eye-catching. Props were simple yet effective. The last scene was cut which put a twist on the opera as pure dessert. Among many vocal reveries: the famous sextet " Chi mi frena in tal momento;" the Lucia and Edgardo's duet "Verranno a te sull'aure" and Lucia's Mad Scene "Alfin son tua" all still play on the mind in masterfull expression of vocal suppleness.
