La Donna del Lago

One of Rossini’s most brilliant and influential operas, based on Sir Walter Scott, Highland Fling

By Ellen Keel

La Donna del Lago finally arrives at the Met— a dazzling vocal showcase for bel canto masters Joyce DiDonato and Juan Diego Flórez.

Joyce DiDonato is Elena, the titular “lady of the lake.” New Productions | 55 for Elena engage in what she calls “an insane craze for setting Sir Walter Scott to music— battle of the high Cs” that leaves the audi- from operas such as Donizetti’s Lucia di Lam- ence with jaws agape. mermoor to other settings of passages from Even by Rossini’s standards, La Donna The Lady of the Lake, such as Schubert’ s “Ave del Lago was composed in something of a Maria” and the anthem “Hail to the Chief.” hurry, to meet a last-minute commission, Curran, a native of Glasgow, laughs with an anonymous assistant contributing when asked if being Scottish gives him any recitatives and even an aria. But perhaps a special insights into this opera. “It’s not Scot- spirit of freewheeling energy encouraged tish at all—it’s a Romantic idea of Scotland. Rossini to make adventurous choices with Historically, this piece is about as accurate the score, conducted at the Met by Michele as Asterix the Gaul.” But the knowledge that Mariotti. There are many bold touches, such the story is full of details that don’t make as the striking use of stage bands and offstage sense on a naturalistic level liberated Curran, musical effects, the layering of three different along with set and costume designer Kevin choirs in the acclaimed Act I finale, and an Knight, to pursue a more essential approach unusual fluidity to the structures of the set Juan Diego Flórez sings the to the setting. In a nod to the cold and damp king-in-disguise. pieces. “People are surprised at the musical of the climate, the costumes feature leather depth and richness of this piece,” Curran and fur, what Curran describes as “a little bit notes. “It’s really unlike anything that you’ve heard.” “People are more Game of Thrones” than fussy period clothes. The Although the sophisticated Naples audience at set is earthy—all of the action takes place on a floor Paul Curran’s production premiered at Santa Fe Opera. the opera’s premiere was a bit nonplussed by its nov- surprised at representing the Scottish countryside, with movable elties, they warmed to it quickly, and today, La Donna the musical pieces upon it and projections behind it that can he bel canto revival that began in the middle of the 20th mezzo-soprano Daniela Barcellona in the trouser role of Malcolm, del Lago is considered by many to be one of the com- transform into the banks of a lake or a humble cot- century reinvigorated the international repertory with Elena’s true love; and tenor John Osborn as Rodrigo, chief of the poser’s most important operas—a major milestone depth and tage or royal palace. a slew of previously unheralded diva-centric operas by Highlanders. on the way to his final, momentous masterpiece, richness of Whatever the background, Curran is intent on TBellini and Donizetti, popularized by such artists as Maria Callas While the zany situations that occur in Rossini’s comedies Guillaume Tell. Describing Rossini’s influence on the keeping the focus on the singers. “The story is told and Joan Sutherland. The serious operas of Rossini, though, took a tend to be taken in stride, his opera seria plots are often brought operatic conventions of the era, the writer Stendhal this piece.” through the people singing it,” he states simply. little longer to be fully appreciated—requiring the men of the cast, up on charges of implausibility. DiDonato, though, is quick to said, “He enlivened the tediousness of the opera seria “Quite frankly, having Joyce DiDonato onstage alone as well as the women, to flaunt bravura coloratura that is not only defend them. “Those plots are in place to give a landscape for huge and imparted to it a life and animation to which it on a small red carpet in the dark is rather thrilling. technically daunting but integral to the drama. Only when virtuoso emotions and for huge vocality,” she emphasizes. “We get time to had before been a stranger.” What else does she need? She doesn’t need fireworks vocalism is delivered with utter assurance can the audience discover expand and go very deep into the internal turmoil of each of these behind her. It’s Joyce. I love working with artists like the thrilling theatrical power of an opera like La Donna del Lago. characters.” Curran, who first worked with DiDonato for the pro- t must have helped that Rossini’s literary source that who are masters of their craft. Joyce and Juan Paul Curran, who directs the Met premiere of the work, avers, “This duction’s premiere at Santa Fe Opera in 2013, admires her commit- was a bestseller that was not even a decade old. Diego are the two top stars in the world today in this was an opera written for superstars, a night out of absolute vocal ment to this exploration: “She won’t do anything without a reason. The trend for serious operas was moving away repertoire.” And in addition to the drama created fireworks.” She’s an artist who’s able to make dramatic sense of all these runs Ifrom the tradition of setting the same old classical by the distinguished cast, he appreciates the extra In 1819, the biggest of those superstars was Isabella Colbran, and coloratura, and that’s when it really starts to buzz.” texts again and again, and toward seeking out fresh excitement created by the occasion—La Donna del Rossini’s muse, who would eventually become his wife. Today, it’s Rossini’s original stars had created multiple roles for him new inspirations. Curran describes La Donna del Lago Lago finally arriving on the Met stage. “This type of mezzo-soprano Joyce DiDonato, who owns the title role of Elena, before La Donna del Lago, so he was adept at playing to their con- as “quite a modern story, in a way—a woman who, in opera was made for those people to be singing on a the “lady of the lake.” The opera’s story, based on a narrative poem siderable strengths, as well as using the gladiatorial aspect of their an old-fashioned sense, knows her place in society, platform like this. It really is a high-risk showcase by Sir Walter Scott, places her in the middle of political tumult— vocal feats in service of the story’s key confrontation scenes. As a but at the same time decides that she has to follow thing. If you miss it, you miss a major event.” clan rebellion in 16th-century Scotland—as well as a full-blown love result, the music encourages a tantalizing undercurrent of competi- her heart.” And Rossini kicked off something of a Ellen Keel is a writer and radio producer for the Met. quadrangle. The Met has assembled a formidable team of bel canto tion among the singers, as each strives to use the music to draw the stars to portray the rivals: tenor Juan Diego Flórez as King James V, listener to his or her character’s point of view. DiDonato points as Met radio announcer Margaret Juntwait leads a discussion with stars Joyce DiDonato Metropolitan Opera Premiere February 16, 2015 who disguises himself as the humble “Uberto” to woo the heroine; an example to a trio in the second act, where the two tenors vying MetTalks and Juan Diego Flórez, on February 11 at 6pm in the Bruno Walter Auditorium.

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