Lucia di Lammermoor @ Liège

12239972_1093581437327630_8124868623146702813_nIt is always a risky choice to perform the classics of the operatic repertoire. But the public flocks like sheep and fill the house, sometimes regardless of the quality. This Lucia unfortunately doesn’t stand out. The direction of Cobos is conventional and monotonous. He wakes up a bit ‘in the first finale but for the rest directs as if zapping through TV channels with his slippers on. The setting is beautiful, though, with the medieval tower in the center which can be rotated to see both the exterior and the interiour, with trees going up and down etc (Although the fountain in Lucia’s first aria seems like taken from a crib in the nativity scene made by a child in kindergarten). The singing is acceptable from most singers: Ivan Thirion as Enrico sings well but slightly throaty, his low register is weak and the voice doesn’t expand. Annick Massis sings well, the coloratura is clean and still exciting, but she sings very cautiously which doesn’t allow her to really immerse herself into the role. Her madness was accompanied by the always welcome glass harmonica. Celso Abelo sings quite well. The curse is effective, the pronunciation excellent and the singing bright and light. Roberto Tagliavini’s short role of Raimondo was excellent but Alisa, Arturo and Normanno barely acceptable. The direction of Mazzonis di Pralafera is at times ridiculous. I think it is always very delicate to show the actual killing of Arturo. In Liege in the few minutes between the end of the duet Arturo/Enrico and the moment Lucia sings her madness-aria we see Lucia and Arturo enter their nuptial room, Lucia stab him with a knife, take a sword from a shield that adorns the wall, stab him again on the floor, Raimondo enter the room acting all surprised, dash down to give the news (Dalle stanze ove Lucia) and Lucia appear on stage….with Arturo’s head (!!!)… Additionally Enrico, with his exaggeratedly sudden aggressiveness, pushing people, grabbing them at the collar etc, was farcical and ludicrous. It was all very Benny Hill-like: the least you want in a dramatic opera. All in all not fully convincing.

Direction musicale-Jesus Lopez Cobos, Mise en scène-Stefano Mazzonis di Pralafera, Décors-Jean-Guy Lecat, Costumes-Fernand Ruiz, Lumières-Franco Marri, Lucia-Annick Massis, Edgardo-Celso Albelo, Enrico-Ivan Thirion, Raimondo-Roberto Tagliavini, Arturo-Pietro Picone, Alisa-Alexise Yerna, Normanno-Denzil Delaere

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