![]() ![]() This seems a bit musical comedy, but will pass. ![]() The chorus of “beaters” in the opening scene flourish their lanterns in rhythmic sequence, and the wedding guests in Act II look about, similarly synchronized. ![]() The Met’s Mary Zimmerman production set in grey, late Victorian Scotland currently lists no “revival stage director,” so I presume the alterations that have crept in since its premiere are her own re-thinkings, now that she knows the score, musical and otherwise. And those moody, romantic French horns invoking Scottish mist never fail. There is no limit to the variety of ways its archetypal characters can be played: Lucia angry or broken or driven to distraction Edgardo grim and hysterical or brooding and cold Enrico brutal or smarmy and, in recent years, incestuous Raimondo mealymouthed or genuinely peace-loving. In the bad old days, Lucia was often cut to ribbons, the sextet and the Mad Scene isolated among the chatter, scenes omitted, other Donizetti numbers inserted, the glass harmonica replaced by a flute. The discoveries of modern psychiatry and the changing relationship between the sexes have only added depth to its possibilities of characterization. It is the oldest serious Italian opera never to have faded from the repertory. Do whatever violence you like to it, if the singers are any good at all the piece will cook. Raimondo Bide-the-Bent ALEXANDER VINOGRADOVĬhorus and Orchestra of the Metropolitan Opera Opera in three acts, libretto di Salvadore Cammarano. New York, Metropolitan Opera – Season 2017-18 ![]()
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