John Copley’s production of Donizetti’s Lucia di Lammermoor dates back to at least 1986 in Sydney, with even older London antecedents. I have seen it in at least three Australian cities, and for many it is ineluctably associated with Joan Sutherland, although I also have fond memories of a more recent Emma Matthews performance. In other words, what State Opera South Australia have given us here in Adelaide is a veritable warhorse of warhorses, but for all that the present cast and crew, under revival director Laura Hansford, have thrown themselves into it wholeheartedly, perhaps with just the occasional extreme tip of the tongue in their cheek, and it was all most enjoyable.
The atmospheric set has worn well, but it’s probably just as well it’s largely shrouded in gloom. It is based around gothic columns looming up out of the Scottish mist, representing both internal (a bedroom, a banqueting hall) and external (a foggy glen, a graveyard) locales. The sumptuous costumes, “re-imagined” by Tracey Richardson from Michael Sennett’s originals, vary between early Victorian and Elizabethan, that is, floating in some undefined opera time scale having little to do with Walter Scott’s original late 17th, early 18th-century setting. Donizetti and Cammarano’s historically silly comment about William and Mary doesn’t feature here. Happily, the three act structure with two intervals was observed. Stormy rumblings from loudspeakers during the set changes are assumed to have been intentionally atmospheric.
The reliable Adelaide Symphony Orchestra was conducted by Lucía Marín, said to be the first time a Spanish woman has conducted an Australian orchestra (not hard to believe), and she kept things rollicking along. Mention should be made of Lucy Reeves’s melodious harp solo introducing the second scene of Act 1, and Kim Falconer’s flute obbligato with the mad scene. The State Opera Chorus were their usual well-disciplined self, especially the men.
The leading role was sung by Emma Pearson, originally from Perth (Western Australia!) who has been honing her craft in Germany and New Zealand as well as Australia. Despite having a somewhat darker timbre than some other proponents of the part, she impressed with her conveying of youthful innocence (something which rather eluded Dame Joan) as well as the required dementia. Early on there seemed to be a slight tendency for her voice to spread at the top under pressure, but for the great Act 3 scena she nailed every note, high and low, with touching floated pianissimi.
Edgardo was sung by Indian American tenor Alok Kumar, who bears a passing resemblance to Juan Diego Flórez, and sang with something of the same unforced tone. This is a slightly thankless role as the last scene is quite anti-climactic but Kumar convinced with ringing tone and evident emotion. Australian-NZ baritone Morgan Pearse was having a high old time as Lucia’s mean coercive brother Enrico, almost but not quite falling into pantomime villain mode. In any case, his singing was a resonant delight.
All the minor roles were well taken, with Adelaide stalwart Pelham Andrews as the chaplain Raimondo, popping out from behind the pillars at every turn. The unfortunate Arturo was sung by Iain Henderson, Samantha Rubenhold was Alisa and Jiacheng Ding was Normanno; one looks forward to seeing them all in future productions.
