Lucie de LammermoorNueva producción

In the autumn of 1835, in Naples, Gaetano Donizetti achieved one of the greatest triumphs of his career with Lucia di Lammermoor, which became the very model of Italian Romantic melodrama. The opera soon toured the world and was also performed in its original Italian version in Paris, at the Théâtre des Italiens, in 1837. Two years later, Donizetti decided to produce a French version for the Théâtre de la Renaissance, a theatre in Paris with an innovative repertoire but fewer economic and artistic means than the Opéra. Salvadore Cammarano’s libretto was translated into French and simplified by Alphonse Royer and Gustave Vaëz, the librettists who were writing L’ange de Nisida, later to become La favorite, for Donizetti and the Théâtre de la Renaissance. The composer made some changes to the score, creating what is, by all means, a different opera, the ‘other Lucia.’ Among the most significant changes is Lucie’s cavatina, replaced with that of Rosmonda d’Inghilterra according to a practice that Fanny Tacchinardi-Persiani, the first interpreter of the Italian Lucia, apparently followed before that.  The roles of Alisa and Normanno, confidants of Lucia and Enrico respectively, are combined in that of the traitor Gilbert, who thus acquires greater depth. One scene (the duet between Raimondo and Lucia) is cut, many others are simplified or rewritten, and Arthur – the betrothed – makes his entrance already in act one. This new Lucie de Lammermoor made its debut at the Théâtre de la Renaissance on 6 August 1839 with enormous success. It remained in the French repertoire throughout the nineteenth century and became a cornerstone of national culture, as demonstrated by, among other things, the chapter of Madame Bovary set by Flaubert at the theatre in Rouen during a performance of Lucie.