1/2. By the Mermaid's Well. Accompanied by her companion Alisa, Lucia awaits Edgardo. He tells her that he must go abroad. The couple Productions exchange rings, considering that tantamount to a rite of marriage. ALDEN: Lucia’s aria “Regnava nel silenzio” (opening) Old and New Love duet (first half): MITCHELL ALDEN: Love duet (second half)

2/1. A room in the Ashton house. Enrico, concerned that financial losses and recent political changes threaten his family's ruin, has arranged Lucia's marriage to a wealthy bridegroom, Arthur Bucklaw (Arturo). He manipulates her into compliance with a forged letter implying Edgardo's infidelity. Entr’acte: MITCHELL ALDEN: Enrico/Lucia duet

2/2. Reception room in the Ashton house. Lucia has just signed the wedding contract when Edgardo storms into the room. After a stand- off that is the occasion for the famous Sextet, he denounces Lucia and is in turn driven out of the house.

3/1. Wolfscrag, the Ravenswood house. Enrico visits Edgardo's home during a storm, and challenges him to a duel the next day at his family’s graveyard. Enrico/Edgardo duet (end): MITCHELL

3/2. The Ashton ballroom. The chaplain, Raymond Bide-the-Bent (Raimondo), interrupts the festivities to say that Lucia has murdered her husband. When she appears, covered in blood, it is clear that she has gone mad and believes she is celebrating her wedding to Edgardo. Raimondo’s aria and chorus: MITCHELL ALDEN: Lucia’s Mad Scene (excerpts)

3/3. The Ravenswood graveyard. Edgardo comes to the graveyard, fully expecting to die. He is told first that Lucia is calling for him on her deathbed, and then that she has died. He kills himself to be with her. Entire scene: MITCHELL

4. Scott on Stage: Lammermoor http://www.brunyate.com/OpProdMCC/ Scott on Stage Three Lucia Productions The earliest of the three productions, actually, the one directed by Sir Walter Scott’s 1811 novel, The Bride of Lammermoor, is one of Mary Zimmerman at the Met in 2011, will be shown in still photographs the icons of Romanticism. But we no longer live in a romantic age. only. I have shown substantial excerpts from it in previous courses. How then should a director tackle a work like Donizetti’s Lucia di The other two are as follows: Lammermoor, which is also an icon of opera? We look at Covent Garden, London, 2016, directed by Katie Mitchell three productions from the past decade to find out. Diana Damrau (Lucia), Rachael Lloyd (Alisa), Charles Castronovo (Edgardo), Ludovic Tézier (Enrico), Kwangchul Youn (Raimondo); Scott’s Bride c. Daniel Oren; des. Vicki Mortimer. , Madrid, 2018, directed by David Alden Sir Walter Scott (1771–1832) was the major Lisette Oropesa (Lucia), Marina Pinchuk (Alisa), Javier Camarena Scottish writer of his era. His historical novels (Edgardo), Artur Rucinski (Enrico), Roberto Tagliavini (Raimondo); set among the moors and crags of Scotland c. Daniel Oren; des. Charles Edwards. were a strong influence on European romantic Although the story and opera are nominally set in the 17th century, all artists and composers. However, the libretto three productions are updated to the Victorian era. But they differ in that Salvatore Cammarano (1801–52) crafted style and in their concept of what a director does. Zimmerman tells for Donizetti takes several liberties with the the story straight, building big pictures on the grand scale expected by original, most notably in substituting her Metropolitan audiences. Alden stringently avoids pictorialism and brother for her mother as Lucia’s main even color, for a Freudian analysis of the traumatized title character. tormentor, greatly elaborating the mad scene, Mitchell uses detailed sets on a split stage to tell the women’s story and changing the fate of the principal male characters. hidden behind the male-centered narrative of Scott and Donizetti.

Donizetti’s Lucia Excerpts to be Shown

Gaetano Donizetti (1797–1848) was already a The following is a summary of the seven scenes in the opera, as might successful opera composer by the time he be seen in a standard production; I have sent out a fuller synopsis as a wrote in 1835, and he separate handout. Listed after each scene are the excerpts to be had many other still in him. But Lucia shown from the Alden or Mitchell productions. We shall watch the cemented his international success, and is Alden scenes in the first hour, then go back to see the Mitchell ones in often regarded as the peak of the bel canto the second, essentially covering the span of the opera twice. repertory. The term, meaning “fine singing,” 1/1. The Ashton Estate. A stranger has been seen on his lands of Lord places most importance of the pure vocal line Henry Ashton (Enrico). His retainers report that this is his mortal that could be spun high or low, lingered over, enemy Edgar of Ravenswood (Edgardo) and suspect him of meeting or decorated with coloratura. Another finger- Enrico’s younger sister Lucy (Lucia). print is the alternation of slow melodic sections with fast rhythmic ALDEN: Overture sequence ones; in a solo aria, these are known as cavatina and cabaletta, but Overture sequence: MITCHELL the same principle is found in ensembles also, as we shall hear.