The Opera Tattler

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SF Opera’s Lucia di Lammermoor

Lucia-wolf-crag-scene-2015* Notes * 
A new production of Lucia di Lammermoor opened last night at San Francisco Opera with local favorite and Adler alum Nadine Sierra in the title role. There was much beautiful singing and playing, but while there were many strong elements in the staging, it didn't add up to a cohesive performance.

Sierra cut short a run as Zerlina in Paris Opéra's Don Giovanni to replace Diana Damrau, who is on vocal rest. The young soprano started off the evening sounding slightly pinched, but recovered and has a gorgeous voice with excellent consistency. She looks fabulous as Lucia and her face is expressive, those doe eyes convey a lot. She lacks a certain raw intensity in her madness, which came off as very pretty but somewhat impassive, at least vocally.

One also missed the eerie glass harmonica that we heard in San Francisco Opera's 2008 production, though the flute player was strong, and even joined the cast and crew for a well-deserved ovation. Maestro Nicola Luisotti had the orchestra going rather fast, and got ahead of the singers, but only overwhelmed in volume once or twice.

Piotr Beczala sang Edgardo with warmth and brightness, and Brian Mulligan was completely convincing as the conflicted Enrico, his sound rich and emotional. Their Wolf Crag scene (Act III, Scene 1 pictured above, photograph by Cory Weaver) was arresting, and this was one of the more interestingly staged, on a black and white checkered floor that seems to be floating in clouds.

The production, directed by Michael Cavanagh, is efficient and has stylish sets and costumes, and some silly video projections (lots of water and huge statue heads). The mad scene takes place in the bridal chamber, and the set opens up to bring the chorus into the action. This works well, and the contrast of colors is striking. The green, blue, and purple of the chorus women's gowns with the grey set is attractive, and they wear enormous flower-shaped hats which is always a plus.

* Tattling * 
Was happy to run into an opera devotee who recently moved to San Francisco from New York. He was accompanying a young lady to her first opera.

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9 responses to “SF Opera’s Lucia di Lammermoor”

  1. Roberto Avatar
    Roberto

    I don’t think a single soul in the War Memorial House last night missed Damrau. I thought that Nadine wouldn’t have any chance. But, oh my G’d, she pulled this one off. What a night!
    I will gonna see this one again!

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  2. Karen Avatar
    Karen

    Fun fact: last production of Lucia here didn’t use glass harmonica. It was a Verrophone, per Maestro Luisotti at the recent insight panel. He made the point that glass harmonicas need amplification to work in a modern house, and for him that creates a “fake” sound. Seemed he was no fan of the Verrophone, either.
    I heard them use an actual glass harmonica at LA Opera a couple years back (Albina Shagimuratova in title role) and it was very cool/creepy.

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  3. Karen Avatar
    Karen

    :: raises hand :: I think it’s entirely possible to admire/enjoy Sierra’s performance and still be deeply disappointed at missing Damrau. That’s the camp I am in. I’ll be going to more performances, though–there is so much there to like. Plus I bought a string of tickets months ago, in anticipation of Damrau…so, whaddaya gonna do.
    See you at the opera!

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  4. Sacto OperaFan Avatar
    Sacto OperaFan

    Amen Roberto. Madam Damrau was not missed, as she was there as a member of the audience – beautifully coiffed, discreetly dressed in black – to support her husband who was making his SFO debut. Sure wish she was on stage singing though as she is one of my favorite sopranos and I was looking forward to hearing her again.
    That said, I agree with OT on this one. The production was much better than I expected. I dislike moving the setting of the opera for no apparent reason. In this case, it worked – sort of. The sets certainly gave one a sterile cold feeling. The costumes, however, were rather strange. I had first thought Lucia was costumed as she was in Act I to show that despite the era of the setting, which I pegged around mid-century modern, she was in her own world of Romanticism and wore that hooped skirted tulle number like a little girl would. All the male characters and her attendant were costumed in what looked like 50s chic. In Act II however, the female chorus showed up in outfits similar to Lucia – so there went my theory. Overall beautiful costumes though, and I don’t always think this of production costumes.
    The singing: I thought the tenor, Piotr Beczala, the star of the show. At the pre-show lecture Kip Cranna suggested that in the early years (before Nellie Melba) the opera was thought of as a tenor’s showpiece – Edgardo being the Byronic hero with music to match – plus he had the final death in the opera. Those comments certainly ran though my mind last night. Beczala’s voice is strong and beautiful; he must be at the height of his vocal powers right about now age-wise. Hope he returns soon.
    I don’t know why, but I don’t care for Brian Mulligan’s voice and am astonished at how often he sings at SFO. That said, I think he delivered a creditable performance. For me the tone of the voice and his delivery just grates on my teeth. But Nicolai Gedda and Renata Scotto also bother my ears, so go figure.
    Which brings us to Nadine Serra. I don’t think there’s anything wrong with her singing, but I found it rather thin (could it be where I was sitting? I was in the Orchestra Center) and of one color. Lucia, in my opinion, is rather unhinged from the beginning and the wedding just finally did her in. Thus she is rather manic and her music gives the singer an ability to color the voice to show manic happiness to sadness in the space of a few bars. Serra never convinced me other than she was rather sad and depressed. So the famous mad scene was rather flat. The best Lucias can make me cry. I was dry eyed as I applauded Serra’s effort after the show stopping scene. This is one of Serra’s first Lucias so there is room to develop the character for her.
    Over all, a good night at the Opera – some good singing, others, just okay. I was rather startled to find the house wasn’t sold out as this was an important house debut role for a Merola/Adler alumni. Hope it sells better as we go forward. I consider Lucia a bread and butter opera which should not have attendance problems.

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  5. Roberto Avatar
    Roberto

    What I meant, Karen, that it was more exciting to witness a your singer taking such a huge leap on her career than watching a well established singer that no doubt would make a good impression.
    I sensed a lot of drama on Nadine’s performance. It was a very special night for her and she made us be part of that. With that performance, she told the opera world that she is ready for primetime.

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  6. The Opera Tattler Avatar
    The Opera Tattler

    As much as I love Nadine’s voice, I would very much like to hear Damrau sing this. Did you manage to hear it again, Roberto?

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  7. The Opera Tattler Avatar
    The Opera Tattler

    That’s interesting, they made a huge big deal about the glass harmonica in 2008, I had never even heard about this instrument before. How odd that it was a Verrophone. I thought the same person played it here and in Los Angeles, but I should really go through my notes. Thanks for the comment, Karen.

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  8. The Opera Tattler Avatar
    The Opera Tattler

    I heard there were lots of empty seats at the final performance too, at least in the balcony. The press coverage really matters, I guess, and the Chronicle review for this one was not good.

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  9. Roberto Avatar
    Roberto

    Yes, I did. I bought standing ticket to the performance on the 16th, but I sat on a vacant seat after the intermission, so that was nice… 🙂
    The opera announced that Nadine was ill disposed but would sang anyway. I didn’t feel any strain on her voice. I think she was just prima donna. She doesn’t have a big voice, but she had all the high notes and the bel canto thrill. I wished I had seen Albina, tough.
    Lucia is one of my favorite operas and everything on this SF production was respectful of Donizetti’s opera.

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