Lucia di Lammermoor
Lucia di Lammermoor
3 hours and 15 minutes ca. intermission included | |
Gaetano Donizetti
Tragic opera in three acts
Libretto by Salvatore Cammarano
Teatro alla Scala New Production
Teatro alla Scala Orchestra and Chorus
|
Conductor | RICCARDO CHAILLY |
Staging, sets and costumes | YANNIS KOKKOS |
Lights | VINICIO CHELI |
Video | ERIC DURANTEAU |
Staging collaborator and dramaturgy | ANNE BLANCARD |
Cast
Enrico |
Boris Pinkhasovich |
Lucia | Lisette Oropesa |
Edgardo | Juan Diego Flórez |
Arturo | Leonardo Cortellazzi |
Raimondo | Michele Pertusi (13, 16, 29 April, 2 and 5 May); Carlo Lepore (20, 23, 26 April) |
Alisa | Valentina Pluzhnikova* |
Normanno | Giorgio Misseri |
*Students of the Teatro alla Scala Academy
In brief
The new production of Lucia di Lammermoor, which should have inaugurated the 2020-2021 season, brings Donizetti back to celebrate the 7th of December (St. Ambrose day, Milan’s patron saint) after the historical edition in 1967 with Claudio Abbado and Renata Scotto. The Musical Director presents his second Donizetti title at La Scala following Don Pasquale, complemented by the taste and experience of Yannis Kokkos, director, set designer, and costume designer who already has two inaugural performances under his belt: Götterdämmerung and Iphigénie en Aulide. Scotto’s pupil Lisette Oropesa steps into Lucia’s shoes and joins her coprotagonist Juan Diego Flórez in a duo that shines for their elegance, virtuosity, and stylistic awareness and are already well ensconced in opera lovers’ hearts.
Video
Essays
Dentro l'opera online - Lucia di Lammermoor
- Il mito di Lucia e l’archetipo melodrammatico della follia. Appunti sparsi di Angelo Foletto
- Interpretare Lucia: le molte anime di una primadonna sconfitta di Elvio Giudici
- Edgardo, o l’invenzione del tenore romantico di Alberto Mattioli
- Sullo strumentale di Lucia di Lammermoor di Federico Fornoni
- Lucia di Lammermoor e le altre fidanzate scottiane: aspetti drammaturgici e formali di Giorgio Pagannone
- Salvadore Cammarano tra Dante e Leopardi: l’orizzonte letterario di un librettista «studiosissimo» di Emanuele d’Angelo