| Donizetti, Gaetano (1797-1848) | Lucia di Lammermoor (Lucie de Lammermoor) | Livret de Salvadore Cammarano |
| Teatro Real | |||
| Daniel Oren | Direction | ||
| David Alden | Mise en scène | ||
| Charles Edwards | Décors | ||
| Brigitte Reiffenstuel | Costumes | ||
| Coro Titular del Teatro Real | |||
| Orquesta Titular del Teatro Real | |||
| Lisette Oropesa | Soprano | Lucia (Lucie) | 2018 juin 22, 25, 28, juil. 01, 04, 07, 10, 13 |
| Venera Gimadieva | Soprano | Lucia (Lucie) | 2018 juin 23, 26, 29, juil. 02, 05, 08, 11 |
| Javier Camarena | Ténor | Edgardo (Edgard) | 2018 juin 22, 25, 28, juil. 01, 04, 07, 10, 13 |
| Ismael Jordi | Ténor | Edgardo (Edgard) | 2018 juin 23, 26, 29, juil. 02, 05, 08, 11 |
| Artur Ruciński | Baryton | Enrico (Henri) | 2018 juin 22, 25, 28, juil. 01, 04, 07, 10, 13 |
| Simone Piazzola | Baryton | Enrico (Henri) | 2018 juin 23, 26, 29, juil. 02, 05, 08, 11 |
| Roberto Tagliavini | Basse | Raimondo (Raymond) | 2018 juin 22, 25, 28, juil. 01, 04, 07, 10, 13 |
| Marko Mimica | Basse | Raimondo (Raymond) | 2018 juin 23, 26, 29, juil. 02, 05, 08, 11 |
| Yijie Shi | Ténor | Arturo (Arthur) | |
| Alejandro González | Ténor | Normanno | |
| Marina Pinchuk | Mezzo-soprano | Alisa |
A genuine paradigm of Italian romantic opera, Lucia di Lammermoor is the most successful and well known in the extensive list of lyric dramas by Gaetano Donizetti. From the outset, the work was admired for the way its music communicated emotions and was not only a succession of vocal fireworks. This opera opened the doors of Paris for the composer from Bergamo and it was the only piece which remained part of the repertory before the Donizetti Renaissance that as of the 1950’s, would consecrate the composer forever.
In this heart-breaking masterpiece, a young girl in love falls into a state of profound desperation when she is accused of betrayal by her beloved for having married another, albeit against her will. What the lover does not know is that the wedding was celebrated on a false pretense of infidelity. In one of the most famous scenes in operatic history, the girl is overwhelmed by such emotional pain that she loses her mind. This gives way to a moment of musical and theatrical genius in the physiological introspection of its heroine. The unavoidable tragic end seals a work that, without any doubt, continues to enrapture audiences today.
Production by English National Opera
