Blood, tears and glorious music
By Bradley Storer
Lucia di Lammermoor, Donizetti’s classic bel canto tragedy made famous by our Dame Joan Sutherland, is brought to the stage of Her Majesty’s Theatre by Victorian Opera, this star-vehicle appropriately lead by international star Jessica Pratt in the title role of Lucia.
Despite Henry Bardon’s wonderfully atmospheric and decrepit set (whose variations remain a highlight throughout the evening), the opening scene was very statically and somewhat muddily directed. The male chorus lacked strong direction or intention, but held together under the performances of José Carbó as Enrico Ashton and Jud Arthur as Raimondo. Lucia’s entrance in the next scene, amongst a well-timed eerie burst of onstage fog, was more effectively staged, drawing gasps from the audience.
Pratt is clearly comfortable and confident in the role of Lucia, capably navigating the dramatic arc of Lucia’s journey from innocent love-struck girl to her doomed fate, with a sweet and agile soprano that even in the harsh acoustics of Her Majesty’s could be heard in every corner of the theatre. Her acting choices can be a little odd at times – Pratt beams intermittently through her first aria, the ghostly and ill-omened ‘Regnava Nel Silenzio’, which is a little at ends with the dramatic situation (but feels more appropriate in the following cabaletta ‘Quando Rapito’). At times she can feel a little too controlled, never relaxing fully into the role until the famous and vocally-Olympian mad scene, ‘Il Dolce Suono’, where her soft but intense singing touches the heart even as her coloratura thrills.
Carlos E. Bárcenas as her lover Edgardo has a magnificent tenor voice, at points taking notes higher than even the score indicates to astounding effect. Dramatically though he seems lost, never entirely confident in the role and lacking connection and chemistry with Pratt, which means the last scene depicting Edgardo’s suicide tends to drag.
Carbó manages to find every colouring in the desperate Enrico, abusive to his sister one moment then conciliatory and pleading the next, and his scenes with Pratt are quite possibly the dramatic highlight of the show. Arthur as the priest Raimondo is an authoritative presence, and he received massive applause on opening night. Richard Mills draws out a wonderful performance from the Victorian Opera orchestra, as well as the onstage chorus who are impeccable vocally.
Overall, a worthy re-visiting of the classic opera with a commanding lead star at its centre – a worthwhile night at the opera for any theatre-lover!
Venue: Her Majesty’s Theatre
Dates: Tuesday April 12th, Thursday 14th, Saturday 16th, Tuesday 19th, Thursday 21st
Image by Jeff Busby