Opera
Australia at the Sydney Opera House until November 2.
Arts Centre Melbourne from 19th November
Performance 3rd October reviewed by
Bill Stephens
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| Emma Matthews as Lucio, Giorgo Caodura as Enrico Photo: Branco Gaica |
Donizetti’s
“Lucia di Lammermoor”, with its famous mad scene, is perhaps the Everest of the
operatic repertoire. It’s an opera that
makes such demands on the voice and acting abilities of the singers, it can be
career-defining for those who master its challenges.
Joan
Sutherland and June Bronhill made their debuts in “Lucia di Lammermoor” in the
same year. For Sutherland it became her signature role, while Bronhill’s career
took a different direction. For Emma Mathews, her astonishing performance as
Lucia in John Doyle’s sombre new production for Opera Australia consolidates
her reputation as the finest Australian bel canto soprano of her generation.
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| Emma Matthews as Lucia, James Valenti as Edgardo Photo: Branco Gaica |
Set in Scotland, “Lucia di Lammermoor” tells the story of
Lucia Ashton (Emma Mathews) who falls in love with Edgardo Ravenswood (James
Valenti). Theirs is a doomed
relationship as their families have been feuding for centuries. Very
much against her will, Lucia is forced into a marriage with the wealthy Lord
Arturo (Andew Brunsdon) by her brother
Enrico (Giorgio Caoduro) with disasterous results.
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| Emma Matthews as Lucia, Giorgio Caoduro as Enrico Photo Branco Gaica |
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| Emma Mathews as Lucia, Giorgio Caoduro as Enrico Jonathan Abenathy as Normanno, Andrew Brunsdon as Arturo (obscured) Photo: Branco Gaica |
Anyone
expecting grand Scottish castles and lavish costumes will be disappointed as the
Liz Ascroft’s setting for this “Lucia” is determinedly abstract and gloomy. The
action appears to take place in a cloudy grey setting, rather reminiscent of
photographer’s background paper. From
time to time, large horizontal and diagonal backdrops move up and down to
change the stage focus, but apart from a large table in the final scene there
is very little to suggest time or place. The huge chorus wear identical drab costumes
in varying monotone shades, and move in
formal choreographed rows, providing a sculptural scenic element and appearing more as observers than participants.
This gloominess
works remarkably well in that it focusses the attention unrelentingly on the
remarkable cast of principals, who indeed wear fine period costumes, and
interact energetically, while the superb chorus, artfully lit by Jane Cox, form
monumental stage pictures behind them.
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| Male Chorus (Note: Damien Hall foreground centre) Photo: Branco Gaica |
Every inch
the beautiful Scottish noblewoman, Emma Matthews has the stagecraft to match her
voice and looks and uses her voluminous costumes to great effect in the earlier
scenes, especially in her confrontations with Enrico in Act 11. Perhaps the bloodiest Lucia ever, in Act 111
she first appears in a plain white nightdress, hands, face and garment
liberally splattered with blood. Then as the mainly emotionless chorus watch
her, she prowls the stage, unexpectedly bounding on to the huge banquet table,
where she slumps into a foetal position, attempts to wash away the blood in a
huge bowl, and eventually drapes herself in the huge white tablecloth, creating
a series of unforgettable images, all the while tossing off ravishing bravura coloratura
passages to express her grief and madness.
It’s a very physical and totally arresting performance.
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| Emma Matthews as Lucia Photo: Branco Gaica |
But, as
unforgettable as it is, Emma Mathew’s performance is not the only reason why
this production is so memorable. Opera
Australia has surrounded her with a quartet of outstanding male singers, headed
by charismatic Italian baritone Giorgio Caoduro as Lucia’s conniving brother,
Enrico, and picture-book handsome American tenor James Valenti, making his
Australian debut as Lucia’s lover, Edgardo.
Both have superb voices and presence.
Opera Australia’s own Richard Anderson, as Lucia’s tutor, Raimondo, Andrew
Brunsdon, as the unfortunate Arturo and Teresa La Rocca, in the only other
female role as Lucia’s maid , Ailsa, complete an exceptional cast who, under
the experienced baton of conductor, Christian Badea, who confidently martials the
huge orchestral and vocal resources necessary to do justice for Donizetti’s
ravishing score, produce a stunningly successful visual and aural realization of this operatic
masterpiece.
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| James Valenti as Edgardo, Richard Anderson as Raimondo Opera Australia Chorus Photo: Branco Gaica |