Donizetti’s Lucia di Lammermoor was first performed at Teatro San Carlo in Naples in 1835. Since then it has been one of the most enduringly popular bel canto operas in the repertoire. For a dramma tragico it is remarkably melodious, even mellifluous, its dark plangent tones notwithstanding. Much like its famous bel canto ‘lyrical tragedy’ predecessor Norma by Vincenzo Bellini, the ‘Swan of Catania’, who had died three days before the premiere of Lucia.
Donizetti’s famous opera, based on Sir Walter Scott’s novel The Bride of Lammermoor, is a huge work in every sense. OHP does it proud. As always the orchestra is firing on all cylinders, while trying its best not to drown out the singers. It works to perfection in the grand chorus numbers, with the singers massed at the back of the stage. It proves rather more of a challenge in duets and solos. In this production the orchestra is embedded, semi-sunk, centre-stage, so that the singers are constantly moving beyond or, sometimes, around a large central pit. In practice this means that for all but a few numbers the singers are recessed further away from the audience than usual. Not least so that the conductor has a clear view of them. Whenever they are stage-front – as in Lucia’s opening aria Regnava nel silenzio – conductor and singers are virtually back-to-back. It is to the credit of both that this is not a major problem, even if it seems a production oddity.
The part of Lucia is sung here for the first time by Jennnifer France, who rises to the challenge of this most demanding score. She hits the notes each time and her acting is perfectly attuned to the melodramatic twists of Cammarano’s libretto. If France’s voice at times sounds a hard timbre, she is in the company of none other than Maria Callas: she too projected that dramatic vocal intensity that balanced a certain lack of lyric colour. The role of Lucia launched the careers of Callas and Joan Sutherland and may provide France with a promising platform for hers.
José de Eça is cast perfectly for Lucia’s lover Edgardo. His tenor voice is richly expressive, effortless in the higher registers, a joy for the ears. Blaise Malaba is a sure-footed, deep and mellifluous bass, while the roles of Enrico, Arturo, Normanno, and Alisa are all acted and sung well. Apart from France as Lucia, the ultimate star of the show may well be its huge chorus. The combined swell of orchestra and singing in the chorus of the wedding guests is a triumph. Finally, the harp solo which introduces Lucia’s opening aria of love is performed with an exquisitely delicate touch by Stephanie Beck, seemingly gently stroking the harp rather than playing it while eliciting from it a sublimely lyrical sound.
Lucia di Lammermoor
Music by Gaetano Donizetti (1797 – 1848)
Libretto by Salvadore Cammarano (1801 – 1852)
Directed by Cecilia Stinton
City of London Sinfonia and OHP chorus
Conductor Michael Papadopoulos
Cast includes Jennifer France, José de Eça, Morgan Pearse, Joseph Buckmaster, Blaise Malaba, Charlotte Badham, David Webb
Until Friday 1 August 2025
Running time: 3 hours including interval
Review by René Weis
Photo credit: Ali Wright