(Pic: Anna Netrebko and Mariusz Kwiecien in the Mad Scene from ‘Lucia di Lammermoor’)
Classical Notes - by William Charlton-Perkins (courtesy of The Mercury)
Donizetti’s Lucia Di Lammermoor, Cinema Nouveau’s latest attraction in its Live-in-HD filmed-opera series from the Metropolitan Opera, is a must for theatregoers, never mind dedicated opera buffs. If ever a production was geared to win friends and influence people to the cause of opera, this is it. No wonder Mary Zimmerman’s sensational Victorian ghost story make-over of this bel canto masterpiece, set in the wilds of Scotland, was the hottest ticket in New York during its premiere season last year.
First staged with French coloratura soprano Natalie Dessay in the title role (here she is the intermission anchor), this revival stars Russian diva Anna Netrebko as put-upon Lucy whose ruthless brother Henry tricks her into a forced marriage to save the family from financial ruin. Netrebko gives a riveting performance that grows in momentum. She subtly delineates the increasing mental fragility of the opera’s central character, as her treacherous brother shows her a forged letter in evidence that her lover Edgardo has broken faith with her. Numbed with grief, the poor girl gives in to brotherly pressure and publicly signs a wedding contract with newfound bridegroom, Arturo.
Mayhem ensues (and the famous Sextet) as Edgardo arrives on the scene and denounces her. More commotion sets in when it is learned Lucia has stabbed her bridegroom to death on their wedding night. The opera’s celebrated ‘mad scene’ and Lucia’s ultimate collapse swiftly lead to the tenor’s protracted final moments of despair. Zimmerman’s production skilfully sidesteps the inherent perils of anti-climax by allowing Lucia’s ghost to appear onstage. Corny as it may sound, this stroke of directorial genius ensures the lovers are visually reunited in spirit, bringing the curtain down with all the punch of the High Romantic idiom at its most potent (think Romeo and Juliet, think Giselle).
No regrets that Polish tenor Piotr Beczala replaces previously announced Rolando Villazon as Lucia’s ill-starred lover. The man sings his heart out. Evoking memories of the fabled Fritz Wunderlich, he deserves every decibel of the thunderous applause that comes his way during the curtain calls. Ditto all the soloists, in fact. Baritone Mariusz Kwiecien plays the heroine’s tyrannical brother, Enrico, with a convincing sadistic edge. Ildar Abdrazakov as Raimondo, the Ravenswood family chaplain, is suitably guilt-stricken at his own connivance in bringing about Lucia’s breakdown.
In every sense this production is superb theatre, high melodrama played out in a setting of decaying grandeur, the most convincing operatic adaptation imaginable of Sir Walter Scott’s gothic novel. Marco Armiliato conducts with effortless grace, and with all the requisite passion to ensure that Donizetti’s glorious melodies combust the drama throughout. Miss this wonderfully filmed Lucia di Lammermoor at your peril. I plan to take in at least two more viewings before its run ends on April 2.
On the local vocal scene, good news is Durban’s celebrated soprano Bronwen Forbay has returned home to fulfil a teaching stint with her Alma Mater, UKZN’s Opera School and Choral Academy. Our finest vocal export in years, her US audiences’ loss is our gain: Forbay will be the KZN Philharmonic’s soprano soloist in Handel’s Messiah in the Pietermaritzburg City Hall on March 29 at 15h00, singing under the baton of Naum Rousine. She is also set to sing the flamboyantly exciting soprano solo part in Haydn’s Nelson Mass, when the KZNPO and the Durban Symphonic perform of this great work at Mariannhill Cathedral on April 5 at 15h00. The other soloists will be Ronel Laidlaw, Lionel Mkhwanazi and Richard Salmon. Forbay will also sing soprano solos from Handel’s Messiah, Mozart’s C Minor Mass and Haydn’s Creation in the first half of the afternoon’s programme.
Note too that Durban’s Friends of Music will present pianist Ben Schoeman and cellist Anzel Gerber in a programme of Beethoven, Stravinsky, Debussy and Rubenstein at the Durban Jewish Club on March 31 at 19h45, and mother and son duo Jenny Stern (violin) and Emmanuel Bach (piano) playing Stavinsky, Franck, Mozart, Wieniawski, Debussy, de Falla and Sarasate, on April 7. Both events take place at the Durban Jewish Club, starting at 17h45. Booking is through Computicket.
Finally a reminder that two Durban performances of Messiah are in the offing over the Easter period, when the Durban Symphonic Choir and The Playhouse Company Chorale join forces with KZNPO and conductor Naum Rousine. The Playhouse Company’s semi-staged production is directed by Mark Hawkins and will feature soloists Hanli Stapela (soprano), Violina Anguelov (mezzo soprano), Bongani Tembe (tenor) and Tami Zungu (bass). These performances will be in the Opera Theatre at 19h30 on April 9, and on April 12 (Easter Sunday) at 15h00. Tickets R65, R85 and R105. Book through Computicket on 083 915 8000 or call 031 369 9540. – William Charlton-Perkins
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