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Natasha Rogai

Lucia di Lammermoor is one of the masterpieces of bel canto opera and the title role, with its challenging combination of exquisite, stylised singing and intense, realistic drama, is among the most prized in the repertoire.
In Musica Viva’s new production, Lucrezia Drei’s gorgeous voice, flawless bel canto technique and vivid stage presence showed that this young Italian soprano is a worthy successor to such legendary Lucias as Maria Callas, Joan Sutherland and Natalie Dessay.
Composed by Gaetano Donizetti in 1835, the opera is based on Walter Scott’s 1819 novel The Bride of Lammermoor. Set in Scotland in the late 17th century, the story features a family feud, murder, madness and suicide, and while the plot may seem impossibly lurid, it was in fact inspired by a real-life cause célèbre.
Lucia Ashton and Edgardo Ravenswood are in love and swear to be true to each other, but must keep their betrothal secret from Lucia’s brother Enrico, who hates the Ravenswoods.

Enrico is faced with ruin and the only way to save himself is to marry his sister to the influential Arturo. He tricks Lucia into believing that Edgardo has been faithless to her and, in despair, she reluctantly agrees to marry Arturo.
Just as the marriage contract is signed, Edgardo bursts in on the wedding reception, accuses Lucia of betraying him and leaves, cursing her bitterly. Later that night, Lucia descends into madness, stabs Arturo to death in their bridal chamber and dies; learning of her fate, Edgardo kills himself to be with her in heaven.
Lo King-man’s production was clear, straightforward and well paced, sensibly omitting the opening scene of Act 3 between Enrico and Edgardo, a scene that is not essential to the narrative.
Lo and Musica Viva deserve much credit for continuing to stage at least one complete opera every year and for bringing audiences an alternative repertoire to the large-scale Verdi and Puccini works that are Opera Hong Kong’s main focus.
Unfortunately, the Hong Kong City Hall’s Concert Hall is a problematic venue for opera – the stage is just too small. Last year, Musica Viva’s Il Trittico worked well since its three one-act pieces are on an intimate scale, but Lucia di Lammermoor, if not an epic like Aida or Turandot, requires more space to accommodate a full chorus and several different settings.
The settings, in fact, were a downside. Isaac Wong’s traditional, solid sets necessitated four over-lengthy “pauses for scene change” – during the first, the sound of drilling could be heard, never a good sign – and the designs were basic, to say the least. Given the limitations of the stage and Musica Viva’s own resources, it might make sense to adopt a less conventional, more minimalist approach to scenery in the future.

Yoki Lai and Cathy Siu’s costumes were much more successful, with the women in attractive Empire gowns – evoking the era when Scott’s book was written rather than the original 17th century – and the men in kilts (although Arturo sporting a sporran with a silk tunic instead of tartan must have outraged any Scots in the audience).
Ultimately, Lucia di Lammermoor is all about the music and, happily, here the production punched well above its weight. The opera stands or falls by its Lucia, and Drei stepped up superbly. Her voice has a lovely warm tone and she produced the dazzling vocal pyrotechnics bel canto demands with effortless ease, avoiding the trap of excessive ornamentation for its own sake and remaining consistently expressive.
Her acting skills are also strong; her Lucia was a woman put-upon and abused, her mad scene more dazed with shock than losing her mind. This is a valid interpretation, although it misses the sense of emotional fragility and, to use a Scottish term, feyness that paves the way for Lucia’s madness.
Alexey Bogdanchikov was a fierce, brooding Enrico with a fine, ringing baritone. Mariano Buccino, as the sympathetic priest Raimondo, brought the house down with his magnificent bass.

As Edgardo, one of the more thankless roles for a tenor, Pablo Bemsch sounded a little thin compared to the rich, full-toned voices of the other principals, but his singing grew stronger as the opera progressed, and he brought impressive emotional intensity to the final scene.
Vivian Ip’s conducting of the Musica Viva Orchestra brought out the ravishing beauty of Donizetti’s music and was admirably sensitive to the singers, which is especially vital for bel canto – the skilful handling of the famous duet between soprano and flute in the mad scene being an excellent example.
The members of the Musica Viva Chorus not only sang but acted with energy and conviction, while Dennis Lau did double duty as chorus master and a lively Arturo.
“Musica Viva: Lucia di Lammermoor”, Hong Kong City Hall Concert Hall. Reviewed: December 12


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Lucrezia Drei dazzles in Musica Viva’s Lucia di Lammermoor in Hong Kong

Lucrezia Drei (left) and Alexey Bogdanchikov in Musica Viva’s production of Lucia di Lammermoor at Hong Kong City Hall. Photo: Titan Lam/Musica Viva

Baritone Alexey Bogdanchikov as Enrico (left), bass Mariano Buccino as Raimondo (middle) and tenor Pablo Bemsch as Edgardo (right) in Musica Viva’s production of Lucia di Lammermoor. Photo: Titan Lam/Musica Viva

Lucrezia Drei as her character Lucia descends into madness. Photo: Titan Lam/Musica Viva

Bemsch as Edgardo (right) grieves for Lucia, played by Drei. Photo: Titan Lam/Musica Viva

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Despite amazing vocals, the opera by Gaetano Donizetti needs more space than offered by Hong Kong City Hall’s Concert Hall to truly shine


Despite amazing vocals, the opera by Gaetano Donizetti needs more space than offered by Hong Kong City Hall’s Concert Hall to truly shine.


World of performing arts

An assessment or critique of a service, product or creative endeavour.  Film reviews, restaurant reviews, reviews of art exhibitions. (Eg. Crazy Rich Asians: an important film, yes, but a good one?)


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.css-1c6uqr6{color:inherit;font-weight:inherit;font-size:inherit;font-family:inherit;line-height:inherit;overflow-wrap:break-word;}Despite amazing vocals, the opera by Gaetano Donizetti needs more space than offered by Hong Kong City Hall’s Concert Hall to truly shine

Despite amazing vocals, the opera by Gaetano Donizetti needs more space than offered by Hong Kong City Hall’s Concert Hall to truly shine