Lucia di lammermoor sextet pdf

Continue By choosing I agree below, you agree that NPR sites use cookies similar to tracking and storage technologies, as well as information about the device you use to access our sites to enhance your browsing, listening and user experience, personalizing content, personalizing messages from NPR sponsors, providing social networking features and analyzing NPR traffic. This information is in conjunction with social media services, sponsorship, analytics and other third-party service providers. See the details. Reject and visit the simple text of the site Click above to play the entries. In the 20th century it entered pop culture. He featured in a number of releases at the dawn of the recording age - by Sousa Band, for example, in 1901. Victor's company produced two different performances in 1908 and 1912, and then exactly one hundred years ago - in 1917 - it released a reading that would become a blockbuster, with the all-star soprano Amelita Galli-Kurci, mezzo-soprano Minnie Egener, tenor Enrico Caruso, tenor Angelo Bade, baritone Giuseppe De Luca, and Marcel bass. Every music lover seems to have owned a copy, and when Mario Lanza starred in the 1951 MGM film The Great Caruso, in 1951, of course, Sextet had to take pride of place, with soprano Dorothy Kirsten doing her role as Lucia.By that time, Sextet took on her own life, moving into the world of comedy despite herself. Why, there was a winsome little Shirley Temple in her satin ball gown, a belt from Sextet, arranged as a trio with her adult friends Gentlemen Guy Kibby and Slim Summerville (a native of Albuquerque) in 1936 spirit-raiser Captain January. In 1945, Sextet became a soundrack for slapping. In Micro-Phonies, Three Stooges, working on a radio station, conduct a lip-syncing phonograph recording of Sextet, costing themselves as Senor Mucho (Mo), Senor Gusto (Larry), and Senorita Kukaraha (Curly). Things aren't going well. The three of us reworked a bit in 1948 at the Squareheads roundtable, now as medieval troubadours serenade songstress Christine McIntyre in her balcony - with a very anachronistic sextet from Lucia.During the 1940s, Sextet Donizetti entered the realm of animated short. In Notes to You, the release of Looney Tunes 1941 Warner Bros., Porky Pig shoots Sylvester's cat, after which the spirits of Sylvester's nine lives live on the back fence while singing Sextet. The studio got more mileage from the gag in Back Alley Oproar, a Merry Melody release from 1948. This time Sylvester's singing prevents Elmer Fudda from getting enough sleep. Elmer, having blown himself up in an accident on TNT, is looking forward to a rest in heaven, but he is interrupted even there by a boisterous rendition of Sextet spirits by Sylvester, rising in the final Sextet appears again in The Long-Haired Hare, a 1949 Looney Tunes cartoon featuring Bugs Bunny. In 1946, Walt Disney had a piece (arranged as a trio) serve in the climax of his Make Mine Music series, in which Willie the operatic whale, seeking to perform at the Metropolitan Opera, innes various parts simultaneously (all overdubbed by Nelson Eddie). Willie wasn't an ordinary singing whale. Willie could sing in three separate voices - tenor, baritone and bass. Why, Willie was a singing miracle! By choosing I agree below, you agree that NPR sites use cookies similar to tracking and storage technologies, as well as information about the device you use to access our sites to enhance your browsing, listening and user experience, personalizing content, personalizing messages from NPR sponsors, providing social networking features and analyzing NPR traffic. This information is in conjunction with social media services, sponsorship, analytics and other third-party service providers. See the details. Reject and visit the simple text of the website Edit Sextet from Lucia di Lammermoor Donizetti's opera, based on the novel Bride of Lammermoor by Sir Walter Scott, in a short film production in the DeForest Phonofilm sound-on-film process. Plot Summary (en) Add a Summary of Parents Guide: Add a content advisory for parents I've been in Callas withdrawal for quite a while, so this blog will be about her and about the very famous live performance of Lucia di Lammermoor in Berlin 1955, conducted by von Karayan. You don't usually associate von Karajan with the Bel Kanto opera, but he's excellent here. The excerpt that I'm going to direct you to is a famous sextet in Act II, Che mi Fran's tal momento. Here we have Callas in excellent vocal form and the cast of La Scala regulars: Giuseppe di Stefano, Rolando Panerai, Nicola Zaccaria, Giuseppe Sampieri, and Luisa Villa. What is special about this performance is that the audience, presumably Germans in Berlin, is so crazy about this performance that Karayan repeats it! Here's the link: Over the years, this live performance by Lucia di Lammermoor, recorded on tour in Berlin in 1955 with Callas, Karajan and members of La Scala, was one of the most valuable of all unauthorized sets, offering those of us who weren't there a chance to try the sensation and find out why some usually reliable critics were robbed of sleep during the week's experience. The live version brings with it some technical limitations, but it's not without its benefits, not least in the crucial perspective issue. In this Berlin recording, Callas herself is often more naturally placed than in the 1953 Florence set, where close micro-titles favored by the Italian production team EMI tend to be devoid of singing mystery and charm. This Lucia has been remastered and reissued You'll have to listen to live recording and remaster live recordings to decide which one you like more, but if you like Callas, even if you don't like Callas, it's Lucia to own. Insert opera_cat Chi mi fran in tal momento, the famous sextet from Lucia di Lammermoor. Lucy Ashton (Lucia) fell in love with Edgar Ravenswood (Edgardo), whose family was in a feud with her. When her brother Henry (Enrico) discovers this, he does his best to separate the couple, including showing Lucy a wrought letter that indicates that Edgar married another woman. Henry finally browbeats Lucy into marriage to politically well-connected Lord Arthur (Arturo). Moments after Lucy and Arthur signed a prenuptial agreement, Edgar burst into the hall. Lucy faints. All present express their various emotions. EDGARDO EDGAR (Chi Mi Frena in Tal Momentum?... (Who's holding me back at such a moment? Il suo duolo, il suo spavento Her grief, her terror son la Proba d'un Rimorso!... are proof of remorse! Ma, qual rose inaridita, But like the withering roses of Ella sta fra morte e vita!... it stands between life and death. Io's son vinto... son commosso... I'm overcome... I'm touched... T'amo, integrata, t'amo ancor! )I love you, ungrateful woman, I love you still!) ENRICO HENRY (Chi trattiene il mio furore, (Кто сдерживает мою ярость E la man che al brando corse?and рука, которая прыгнула на мой меч? Делла мизера в пользу В пользу несчастной девушки Nel mio petto un grido sorse!a крик поднялся в моем сердце! Иль Мио санге! io l'ho tradita! Она моя кровь! Я предала ее! Элла ста фра морте е Вита!... She stands between life and death. Yes! che spegnere no posso alas that I can not quench un rimorso nel mio cor!) remorse in my heart!) LUCIALUCY (rebirth) (Io sperai che a me la vita (I hoped my horror Tronca avesse il mio spavento... would have ended my life... Ma la Morte, no m'aita ... But death doesn't help me; Vivo anchor for mio torment! I'm still living, for my torment! Da' miei Lumi cadde il velo... The veil fell from my eyes: Mi trade la terra e il cielo!... Heaven and earth have betrayed me! Vorrei pianger, ma no posso ... I would cry, but can not ... , mi manca il pianto ancor! Even tears let me down!) ARTURO, RAIMONDO, ALICE, HORTUR, RAIMONDO, ALICE, HOR (Kval Terribile Moment!... (What a terrible moment! Pie Formar is not so parole!... I can't say a word anymore. Densa nube di spaventoA thick cloud of terror par che kopra i rai del sole! --Seems to cover the sun's rays! Come Rose inaridita How withering roses Ella sta fra morte e vita!... it stands between life and death! Chi za lei, not commosso Whoever did not move for her ha di tigre in petto il cor.) has a tiger's heart in his chest.) This entry was originally . There are comments on Dreamwidth. LiveJournal users can comment on this with OpenID. Opera Gaetano Donizetti Lucia di Lammermora Gaetano DonizettiFanni Takcinardi Persia as Lucia in the London premiere in 1838LibreteistSlvador Cammarano Lankanitain Based Bride Lammermurbi Walter ScottPremiere26 September 1835 (1835-09-26)Theatre Of San Carlo, Naples Lucia di Lammermoor is a dramma tragico (tragic opera) in three acts by Gaetano Donizetti. Salvador Cammarano wrote a libretto in Italian, based on Sir Walter Scott's 1819 historical novel The Bride of Lammermoor. Donizetti wrote Lucia di Lammermoor in 1835, when several factors led to the growth of his reputation as an opera composer. Gioacino Rossini recently retired, and Vincenzo Bellini died shortly before the premiere of Lucia, leaving Donizetti the only reigning genius of Italian opera. Not only matured the conditions for Donizetti's success as a composer, but also had a European interest in the history and culture of Scotland. The perceived romance of his brutal wars and enmity, as well as his folklore and mythology, intrigued readers and viewers of the 19th century. Sir Walter Scott dramatized these elements in his novel The Bride of Lammermoor, which inspired several pieces of music, including Lucia. The story concerns the emotionally fragile Lucy Ashton (Lucia), who is caught up in a feud between her own family and the Ravenswood family. Lammermuir Hills Scotland (Lammermoor) in the 17th century. The 19th Century Opera's play premiered on September 26, 1835, at the San Carlo Theatre in Naples. However, John Black notes that an amazing feature of his subsequent performance history is that he established himself so slowly in the Neapolitan repertoire, and noted that while there were 18 performances in the rest of 1835, there were only four in 1836, 16 in 1837, two in 1838, and continued thus with only two in each of 1847 and 1848. London saw the opera on April 5, 1838, and in Paris Donizetti revised the score for the French version, which debuted on August 6, 1839 at the Renaissance Theatre in Paris. It reached the United States with production in New Orleans on December 28, 1841. The 20th century and post-opera was never absent from the repertoire of the Metropolitan Opera for more than one season at a time, from 1903 to 1972. After World War II, a number of sopranos played an important role in providing a new life in opera, including Maria Callas (with performances from 1952 at La Scala and Berlin in 1954/55 under Herbert von Karajan) and Dame Joan Sutherland (from 1959 and 1960 performances at the Royal Opera House Covent Garden). It remains one of the main elements of the opera repertoire. Roles Role Voice Type Premiere Cast Asthon coloratura soprano Fanny Tacchinardi Persian Lord Enrico Aston, Lord Lammermoor; Lucia's brother baritone Domenico Coscelli Sir Edgardo di Ravenswood tenor Gilbert Dupree Lord Arturo Bucklow tenor Balestrieri Raimondo Bidebent, Calvinist chaplain bass Carlo Ottolini Porto Alice, maid Lucia mezzo-soprano Teresa Seppucci Normanno, hunter; fixer Enrico tenor Anafesto Rossi Instrumental Lammermuir Hills, Scotland Devices: Woodwinds: piccolo, 2 flutes, 2 oboes, 2 clarinets and 2 bassoon brass: 4 horns, 2 trumpets, 3 trombone and tuba percussion: timpani, triangle, bass drum, plates and campana (trumpet bells) Strings: harp, first violins, second violins, violas. There is also a wind band; Donizetti did not provide the devices. In addition, sometimes the glass harmonica is replaced by a solo flute in Lucia's mad scene, in Donizetti's original score. Summary Time: Place of the Early 18th Century: Scotland 10 Act 1 Scene 1: Gardens of Lammermoor Castle, a harp solo composed by Donizetti, preceded by the aria Regnava nel silenzio performed by Francis J. Laptino, 1915 (2:11) Problems playing this file? See the media report. Normano, the captain of the castle guard, and other fixers are looking for an intruder. He tells Enrico that he believes that this man is Edgardo from Ravenswood, and that he comes to the castle to meet Enrico's sister, Lucia. It has been confirmed that Edgardo is indeed an intruder. Enrico confirms his hatred for the Ravenswood family and his determination to end the relationship. Scene 2: At the fountain at the entrance to the park, next to Lucia Castle waiting for Edgardo. In her famous aria Regnava nel silenzio Lucia tells his maid Alice that she saw the ghost of a girl killed in the same place by Ravenswood's jealous ancestor. Alice tells Lucia that the appearance is a warning, and that she must give up her love for Edgardo. Edgardo enters; for political reasons, he must leave for France immediately. He hopes to rest with Enrico and marry Lucia. Lucia tells him that this is not possible, and instead they take the oath of marriage and exchange rings. Edgardo's leaving. Act 2 Scene 1: Lord Ashton's Apartment Preparation was made for Lucia's upcoming wedding to Arturo. Enrico is worried about whether Lucia will really obey the wedding. He shows his sister a wrought-iron letter that seemingly proves that Edgardo forgot her and took a new lover. Enrico leaves Lucia for further belief, this time Raimondo, the chaplain and mentor of Lucia, that she must renounce her oath to Edgardo, for the good of the family, and marry Arturo. Scene 2: The hall at Arturo Castle arrives for marriage. Lucia seems upset, but Enrico explains that it has to do with her mother's death. Arturo signs marriage followed reluctantly by Lucia. At this point Edgardo suddenly appears in the hall, leading to the famous sextet Chi mi fran in tal momento. Raimondo prevents a fight, and he shows Edgardo Lucia's signature on the marriage contract. Edgardo curses her, demanding that they return their rings to each other. He tramples his ring on the ground before he is kicked out of the castle. Act 3 Design Set for Act 3, Scene 3 by Francesco Bagnara, circa 1844 (Civica Raccolta Stampe Bertarelli Milan)Scene 1: Wolfcrag 11 Enrico visits Edgardo to challenge him to a duel. He tells him that Lucia is already enjoying her wedding bed. Edgardo agrees to fight him. Later, they'll meet at Ravenswood Cemetery, near Wolf Craig. Scene 2: Hall Of Raimondo interrupts the nuptials to tell the guests that Lucia went mad and killed her fiance Arturo. Lucia comes in. In the aria Il dolce suono she imagines that with Edgardo, soon to be happily married. Enrico enters and first threatens Lucia, but later softens when he realizes her condition. Lucia is collapsing. Raimondo accuses Enrico of speeding up the whole tragedy. Scene 3: Ravenswood Edgardo Family Cemetery decides to kill himself on Enrico's sword. He learns that Lucia is dying, and then Raimondo comes to tell him that she has already died. Edgardo stabs himself with a dagger, hoping to reunite with Lucia in heaven. Cablett's mad scene Spargi d'amaro pianto after the more lyrical Il dolce suono from Mad Scene (Act 3, Scene 2), has historically been a medium for several coloratura sopranos (providing a breakthrough for Dame Joan Sutherland) and is a technically and expressively demanding play. Donizetti wrote it in F major, but he often transposed down the tone (two half-steps) into an E-flat. Some sopranos, including Maria Callas, performed the scene in come scritto (as written) fashion, adding minimal ornament to their interpretation. Most sopranos, however, add ornament to demonstrate their technical abilities, as was a tradition during the bel-canto period. This includes adding and interpolating trills, mordents, turns, tracks and cadences. Almost all sopranos nail cadences to the end of the mad scene, sometimes ending them on a high leitmotif (E-flat or F, depending on the key in which they sing, although Mado Robin takes an even higher B-flat). Some sopranos, including Ruth Welting, Mariella Devia, Madi Mesple and Lily Pons, sang Mad Scene in Donizetti's original F major, though E-flat is most often heard. The original scoring of this scene was for glass harmonica and soprano. However, adaptations for flute and soloist soprano have been more often performed since then, mostly for practical reasons. Glass harmonics by Sasha Ruckert and Alexander Margerre revived Gaetano Donizetti's vision in 2006 at la Scala in Milan, accompanying Mariella Deia, and has since brought Donizetti's original score to all major opera houses, including its premiere venue, Teatro di San Carlo. Friedrich Heinrich Kern, who collaborated with Ruckert and Margerra as the ensemble Sinfonia di Vetro, began reviving the original performance practice in the United States, recently shown in productions of Lucia di Lammermoor at the Metropolitan Opera, Santa Fe Opera, 23 and Opera Philadelphia. The popular soprano and flute duo cadenza was written in 1888 by Matilda Marchesi to perform her apprentice Nelly Melboy's role, requiring ten weeks of rehearsal of the new addition and causing a critical re-evaluation and a surge of new interest in opera. The list of arias and musical numbers of the Boninge Edition Index lists the following numbers. 1. Law 1 2 Preludio. Percorrete le spiaggie vicine 3. That's this turbato! 4. Cruda, funesta smania (Enrico) 5. La pietade in suo favore (Enrico) 6. Ancor is not giunse! (Lucia) 7. Regnava nel silenzio (Lucia) 8. Cuando Rapito in Estasi (Lucia) 9. Egli s'avanza (Alice, Edgardo, Lucia) 10. Sulla tomba che rinserra (Edgardo, Lucia) 11. Kwai di Spoza Etern... yes! Verranno te sull'aure (Edgardo, Lucia) Act 2 12. Lucia, fra poco a te verr 13. Appressati, Lucia 14. Il pallor funesto, orrendo 15. Soffriva nel pianto 16. Che Fia 17. Se tradirmi tu potrai 18. Ebben? - Di Tua Speranza 19. Oh! Sedi, Sedi (Raimondo) 20. Al ben de' tuoi qual vittima (Raimondo) 21. Per te d'immenso giubilo 22. Dov'i Lucia? 23. Chi mi frena in tal momento (sextet) 24. T'allontana sciagurato Law 3 25. Orryda and quest notte 26. Kwai del Padre anchor 27. D'immenso giubilo 28. Oh! cessate quel contento 29. About! qual funesto avvenimento! 30. Oh, giusto cielo!... Il dolce suono (Lucia, Mad Scene) 31. Ohima! sorge il tremendo fantasma 32. Savannah Enrico 33. Spargi d'amaro pianto 34. Si tragga altrove 35. Tombe delli avi miei (Edgardo) 36. Fra poco a me ricovero 37. Oh, Meschina! 38. Tu che a Dio spiegasti l'ali (Edgardo) Lucy de Lammermoor (French version) This section does not cite any sources. Please help improve this section by adding links to reliable sources. Non-sources of materials can be challenged and removed. (February 2016) (Learn how and when to delete this template message) After Lucia di Lammermoor was released in Paris, the French version was ordered for the Renaissance Theatre in Paris. Donizetti lived there at the time, preparing a revision of Polyuto in his French version (which became Les Martyrs). Lucy opened on August 6, 1839, and this version toured extensively throughout France. Libretto written by Alphonse Royer Gustave yours, it's not just a translation as Donizetti has changed some scenes and characters. One of the most notable changes is the disappearance of Alice, Lucia's maid and confidant. This allows the French version to isolate Lucia, thereby increasing the emotional impact of the story. In addition, Lucia loses most of Raimondo's support; his role drops dramatically while Arturo increases. Donizetti also added a new character, Gilbert, who is loosely based on hunter in the Italian version. However, Gilbert is a more developed figure who serves both Edgardo and Enrico, divulging his secrets to others for money. The French version is performed much less frequently than the Italian version, but it was revived to the great recognition of Natalie Dessay and Roberto Alagna in the National Psera de Lyon in 2002. He was a co-producer of Boston's lyric opera and opera Glimmerglass. Sarah Coburn starred as her first Lucia in this French version in 2005. In 2008, Lucy was produced by the Cincinnati Opera with Coburn again starring. Recordings Of the Caricature by Lucia Sextet, circa 1900 (Civica Raccolta Stampe Bertarelli Milano) Home article: Lucia di Lammermoor discography Lucia received more than 20 commercial studio recordings, and dozens of other live performances. Among them are two French versions and another original Italian edition, translated into English. The earliest full recording was made in 1929 with Lorenzo Molacholi conducting the La Scala Orchestra and Choir and Mercedes Capsir in the title role. The title role features several recordings with Maria Callas, including two versions conducted by Tullio Serafin (1953 and 1959) and one by Herbert von Karajan (1955). Joan Sutherland, who was particularly honored for her performances as Lucia, was also recorded in the role several times, including the 1971 Decca Records recording, conducted by Richard Boninge with Luciano Pavarotti as Edgardo. In 2002, Chandos Records released an English version with David Perry and Elizabeth Futral as Lucia. Several videos were also published, including one in French. Charles McKerras returned to Donizetti's autograph account and prepared a new edition of the score. It's back to its original key structure and Mad Scene is quite different. He recorded this version for Sony in 1997. Links Notes - The plot of Sir Walter Scott's original novel is based on an actual incident that occurred in 1669 in the Lammermuir Hills area of the lowlands of Scotland. The real family was Dalrymple. While the libretto retains much of Scott's core intrigue, it also contains very significant changes in terms of characters and events. In Scott's novel, it is her mother, Lady Ashton, not Enrico, who is the villain and evil performer of all intrigue. In addition, Bucklow only injured Lucy after their unhappy wedding, and he later recovered, went abroad, and survived them all. In the opera, Lucia's descent into madness is faster and more dramatic and very spectacular, while in the book he is more enigmatic and ambiguous. Also in the novel, Edgar and Lucy's final conversation and farewell (led by her mother) is much less melodramatic and more serene, although the final effect is equally devastating to both of them. At the end of the novel, Edgar disappears (his body has never been found) and presumably dies in some kind of accident on the way to a duel with His older brother Lucy; Thus, he does not commit an impressive, operatic style of suicide with a stiletto to study Lucy's death. a b Mackerras, p. 29 - Mackerras, p. 30 - b Black, p. 34-35 - Ashbrook and Hibberd 2001, p. 236 - Performance Statistics. Access to 13 November 2013 - Lucia di Lammermoor (Donizetti, Gaetano) - IMSLP/Petrucci Music Library: Free Public Domain Music Sheet. imslp.org. received on March 19, 2018. Tommasini, Anthony (October 5, 2007). Lucia di Lammermoor - Glass Harmonica - Opera. The New York Times. ISSN 0362-4331. Received on March 19, 2018. Enrico mentions the death of William, the imaginary William III, who died in 1702, Osborne, page 240 and b original stage direction from the score of Ricordi - Lucia di Lammermoor musical highlight: Act II sextet and finale. Royal Opera House. April 11, 2016. Received on December 29, 2019. - original stage direction in the score Ricordi - This synopsis by Simon Hallege was first published on Opera japonica (www.operajaponica.org) and appears here with permission. Mado Robin Sings Bb Over High C!!!. Youtube.com (television). Received on December 31, 2012. Forbes, Elizabeth, obituary: Ruth Welting, The Independent, December 23, 1999. Accessed February 6, 2009. - jovi1715 (June 8, 2016), Mariella Devia - Lucia di Lammermoor Mad Scene (Original version) - 1990, received March 19, 2018 - Tommasini, Anthony. Resonance is a glass act for the heroine on the edge. The New York Times. Received on October 14, 2018. Parise, Paola. Naple di Lucia. Uniroma Network. Cotarelli, Pinot. Lucia di Lammermoor. Resencioni's Teatroula. Dee Vetro, Sinfonia. Ensemble. sinfonia di wind. New York, Metropolitan Opera: Lucia di Lammermoor BYPERA. www.gbopera.it (in Italian). Received on September 21, 2018. Keller, James M. Heavenly Harmony: Glass Harmonica in Lucia di Lammermoor. Santa Fe is a new Mexican. Received on September 21, 2018. Philadelphia, Opera House. Lucia di Lammermoor - from Bergamo to Benjamin Franklin. Opera Philadelphia. Received on September 21, 2018. Puglis, page 32 - Di Lammermoor Discography at Operadis Cited sources ashbrook, William; Sarah Hibberd (2001), in Holden, Amanda (ed.), New Penguin Opera Guide, New York: Putnam. ISBN 0-14-029312-4. John John Black Donizetti Operas in Naples, 1822-1848. London: Donizetti Society. Mackerras, Sir Charles (1998). Lucia di Lammermoor (cd booklet). Sony Classic. 29-33. ISBN 0-521-27663-2. Osborne, Charles (1994), Bel Canto Opera Rossini, Donizetti, and Bellini, Portland, Oregon: Amadeus Press. ISBN 0-931340-71-3 Poole, Romana (March 2004), Martin Deasy, Cadenza Origins Lucia di Lammermoor, Cambridge Opera Magazine, 16, 1: 23-42 Other sources Allitt, Jon Stewart (1991), Donizetti: in light of romanticism and the teachings of Johann Simon Myra, Shaftesbury: Element Books, Ltd (UK); Rockport, Massachusetts: Element, Inc. Ashbrook, William (1982), Donizetti and his opera, Cambridge University Press. ISBN 0-521-23526- X Ashbrook, William (1998), Donizetti, Gaetano in Stanley Sadie (ed.), New Grove Dictionary Opera, Vol. One. London: Macmillan Publishers, Inc. ISBN 0-333-73432-7 ISBN 1-56159-228-5 Boyden, Matthew (2007), Rough Guide to Operas (4th century), Rough Guides, ISBN 1-84353-538-6 Cipriani, Nicola (2008), Varese (ed.), Le tre Lucie: un romanzo, un melodramma, un caso giziziario : il percorso di tre vittime zecchini p. 276, ISBN 88-87203-66-0 Fisher, Burton D. (2005), Lucia di Lammermoor, Opera Journeys Publishing, ISBN 1-930841-79-5 Loewenberg, Alfred (1970). Annals of Opera, 1597-1940, 2nd edition. Rowman and Littlefield Osbourne, Charles, (1994), Opera Bel Canto Rossini, Donizetti and Bellini, Portland, Oregon: Amadeus Press. ISBN 0-931340-71-3 Sadie, Stanley, (ed.); John Tyrell (Exec. Ed.) (2004), New Grove Dictionary of Music and Musicians. 2nd edition. London: Macmillan. ISBN 978-0-19-517067-2 (hardcover). ISBN 0-19-517067-9 OCLC 419285866 (e-book). Weinstock, Herbert (1963), Donizetti and the world of opera in Italy, Paris and Vienna in the first half of the nineteenth century, New York: Pantheon Books. LCCN 63-13703 External Links Wikimedia Commons has media related to Lucia di Lammermoor. Lucia di Lammermoor: Results in the International Music Library of the Libretto Project of the French version on the Italian libretto stanford.edu with linear English, French, German libretto of the French version in Magasin th'tral in the Internet archive. Vocal score of the French version in the Internet archive. Further Lucia di Lammermoor discography Lucia di Lammermur synopsis (Metropolitan Opera) Online vocal score derived from lucia di lammermoor sextet lyrics. lucia di lammermoor sextet callas. lucia di lammermoor sextet youtube. lucia di lammermoor sextet pavarotti. lucia di lammermoor sextet pdf. lucia di lammermoor sexteto. donizetti lucia di lammermoor sextet. maria callas lucia di lammermoor sextet

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