SEEN AND HEARD INTERNATIONAL

Donizetti, Lucia di Lammermoor:  Soloists and chorus of Boston University Opera Institute and Boston University Chamber Orchestra, William Lumpkin (Conductor). Boston, Massachusetts,  17.4.2009. (LS)

Production:
Stage Director - Sharon Daniels
Assistant Stage Director - Nathan Troup
Choreography - Judith Chaffee
Chorus Master - Cory Wikan
Italian Conversation - Laura Raffo
Scenic Designer- Ada Smith
Costume Designer - Tristan Scott Barton Raines

Lighting Designer - Brent J. Sullivan

Sound Coordinator - Ben Emerson

Production Stage Manager - Stacy Corbett

Technical Director - Dan Ramirez

Production Manager - Todd Williams

Cast:
Normanno - Martin Bakari

Enrico - Taesung Kim

Raimondo - Adrian Smith

Lucia - Sarah Beckham

Alisa - Rachel Marino

Edgardo - James Barbato

Arturo - Mario Arévalo

Those who follow my reviews in Seen and Heard know that I'm very partial to bel canto. So when I read that Boston University's Opera Institute would be performing Lucia di Lammermoor I said to my wife "let's go".  I had no intention of writing a review for Seen and Heard. But after what turned out to be a wonderful production, I changed my mind.  I wanted the Seen and Heard audience to know the  names and accomplishments of these talented performers.

It's ironic, but I had just  seen the Metropolitan's production of Lucia on video featuring the superb Anna Netrebko.  Although it's hard to believe, I found the Boston University production to be more satisfying in several respects.

All opera buffs know the story of the Bride of Lammermoor with its simple plot - Edgardo loves Lucia while Enrico -Lucia's brother - wants her married to Arturo to save his family fortune.  A forged letter convinces Lucia that Edgardo has been unfaithful.  No sooner does she sign the marriage contract than Edgardo returns and curses her.  Lucia stabs Arturo to death on her wedding night and proclaims her love for Edgardo in the famous Mad Scene.  Edgardo and Enrico agree to a duel, but as Edgardo waits for the sun to rise, he learns that Lucia has died with Edgardo's name on her lips.  The distraught Edgardo takes his own life as the curtain falls.

What made this Lucia different was Sharon Daniel's inspired production.  It was somehow both intimate yet grand. A simple set featuring four large ivy twined pillars plus a short central staircase  sufficed for both exterior and interior scenes. Although Boston University's Huntington theatre does not have a large stage,  it accommodated a 22 person chorus and the wedding festivities quite well.   The lighting was excellent as were the costumes, particularly the severe gowns worn by the ladies at the wedding festivities.  Several scenes featured candles effectively.

There were a host of memorable scenes.  In Act II Scene 1,  Enrico sat in front of a roaring fire in an otherwise darkened set brooding over his fate and in all  Lucias I've seen,  Act I Scene 2  ends with Lucia and Edgardo vertical. In this production they were horizontal having concluded a sensual yet tasteful love scene. Usually Lucia's Mad Scene brings down the curtain  of Act II Scene 1  but Daniels included the important short scene where the priest Raimondo, dripping with hypocrisy, blames Normanno for Lucia's tragedy. The finale of Lucia offers all sorts of possibilities for the stage director. I'll never forget one Boston Lyric Opera production where Edgardo and Lucia were reunited in "cielo" I assume  at the left front of the stage.  Pretty weird.  And what about Anna Netrebko returning as a ghost/spirit in the finale of the Metropolitan's production to give Edgardo a final kiss!!

Sharon Daniels had Lucia's shroud carried in during Edgardo's final aria.  It was placed on  the ground, and after Edgardo stabbed himself he crawled painfully toward Lucia's body, but didn't quite touch her as the curtain fell.  It was wonderfully poignant.

Sara Beckham was both a tough yet fragile Lucia.  Her voice reminded me of Italian sopranos of earlier generations.  She projected a powerful sound in the higher range perilously close to a scream, thus heightening the tension. Beckham substituted very effective acting for the highest notes in the Mad Scene. She received a well deserved hearty applause from the audience.  She will make her professional debut as Fiordiligi in Cosi Fan Tutte with Amarillo Opera next fall.

James Barbato was a ravishingly handsome Edgardo with a beautiful tenor voice.  He sang and acted well, though would have been a bit more effective with greater vocal projection.  This summer he will be an apprentice at Central City Opera singing Normanno in Lucia.

Taseung Kim almost stole the show as the alternating brutal yet pathetic Enrico . His  Act I cabaletta 'La pietade in suo favore' was right on the mark. His vicious slap to Lucia's face was stunning.  His dialogue with Arturo at the signing of Lucia's wedding contract was well done.  I hope to see him in future productions.

Adrian Smith sang and acted the important role of Raimondo beautifully. He is quite tall and reminded me of the great Jerome Hines.   He is a first year  Master of Music candidate at Boston University.  The minor roles of Arturo and Alisa were each performed well by Mario Arévalo and Rachael Marino respectively. The chorus was well rehearsed and excellent.

William Lumpkin's BU Chamber  Orchestra performed admirably.  The horns, flute, trumpet, and cello should be singled out for special praise. The tempo was spirited and the opera moved along effortlessly. The Boston University Opera Institute was founded in 1987 by Phyllis Curtin as a non-degree professional training program for the advanced singer preparing for an operatic career.  Twelve emerging professional singers participate in a challenging two-year residency that provides the " crucial transition between  student training and professional performance. " It was inspiring to hear great opera sung by young dedicated voices. I look forward to hearing them again.

Lew Schneider

Pictures © BU Photo Services


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