Donizetti’s bel canto opera, “Lucia di Lammermoor,” needs an outstanding soprano to navigate the difficult coloratura arias, and the Los Angeles Opera has found one in the Russian singer, Albina Shagimuratova, who recently made her debut at the Dorothy Chandler Pavilion. She was assisted by a wonderful cast of singers as well as orchestral support that was awesome.
“Lucia,” based on a novel by Sir Walter Scott, is a melodramatic opera about thwarted love. Lucia has an evil brother who insists she marry a man she does not love. Because she is torn by her love for another and her duty to her brother, she loses her mind, leading to the famous “mad scene.”
Stephen Powell, as the brother, was a believable villain with an excellent baritone voice. Fine singing was also produced by tenor Saimir Pirgu as the love interest, exhibiting the passion required. Lucia’s husband was sung by Vladimir Dmitruk. Others in the cast were Joshua Guerrero, James Cresswell and D’Ana Lombard.
Donizzetti’s music is turbulent and emotional as befits an opera that derives from a Scottish tale. A sense of place is critical. The melodramatic story requires a bleak castle, desolate moors and fighting clans. Unfortunately, this production fails to capture the atmosphere.
Distracting movie projections are used instead of the traditional sets. In a scene where the heroine recalls a macabre incident of the past, the screen projection casts undulating images of a drowning girl. A scene in the castle consists of two yellow walls. No Scotch plaids here, not even a hint. Neither the sets nor costumes give any indication that the drama takes place in Scotland.
The changing movie images in the background simply distract from the sumptuous score and lovely singing.
The music is magical with one gorgeous aria following another. The singers, both stars and chorus, suffer from wooden direction. Although the costumes were beautifully creative, the Scotch was missing.
John Conlon conducted the Los Angeles Opera Orchestra, which performed admirably, with lush tones.
Wendell K. Harrington was credited as the projection and scenic designer. Carolina Angulo was the scenic designer and Christine Crook was responsible for the costumes. Faced with the daunting job of directing the production was Elkhanah Pulitzer.
Bring back the kilts!