![]() ![]() ![]() Roaming through the world of her untethered imagination - and accompanied by the eerie sounds of the glass harmonica, as Donizetti originally intended - she seemed to be communicating from some distant, uncharted realm the explosion of unmotivated laughter at the scene's end made it all the more riveting.īut even before that climactic tour de force, Dessay had already established the musical prowess and theatrical versatility of her performance. That respite came in the famous Mad Scene, in which Dessay turned what is usually an extravaganza into a concentrated burst of subdued anguish. ![]() But it wasn't hard to understand why Lucia might have longed for a little respite. To judge from Tuesday's debuts, these are both singers with a vivid, red-blooded approach to opera - always on the edge emotionally, and never happier than when unleashing a furious fortissimo or making a headstrong push against conductor Jean-Yves Ossonce's rhythmic pulse.īoth performances made for gripping theater, and both men sang with plenty of tonal assurance and stylistic flair. On the other were two Italian singers of the old school, tenor Giuseppe Filianoti as Lucia's ill-fated lover, Edgardo, and baritone Gabriele Viviani as her brother Enrico. On the one hand there was Dessay, giving a precise, luminous and impeccably controlled performance that portrayed Lucia as a spirited but moody girl undone by love. It also came from the stylistic divisions among the singers, which had the effect of making Lucia seem even more isolated and abandoned than she usually does. The wrenching impact of Tuesday's performance came not just from the efforts of a strong cast and a focused, if not especially attractive, production. ![]()
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