Lucia di Lammermoor

A Gothic castle in the Scottish Highlands, a mysterious well which harbours ghosts of clan
rivalries, forbidden love, tragedy and drama. The opening night of Lucia di Lammermoor in
Her Majesty’s Theatre brought all these to an emotionally charged finale.

From the first note of the overture, to the curtain rising to reveal the castle, steeped in
shadow and gloom, the mood was established. Lucia’s brother, Enrico, sung by Morgan
Pearse, bristling with anger on learning that his sister, Lucia (Emma Pearson) was being
courted by Edgardo (Alok Kumar) from a rival clan, showed that all was not well in the
household. Enrico had other ideas for his sister’s marriage, namely to Arturo (Iain
Henderson) thus restoring his honour and status. In the meantime Lucia and Edgardo are
professing undying love, for each other, determined that nothing would part them. What
does part them is treachery and betrayal leading to a tragic finish.

What lifts this narrative above soap opera status is firstly the music, by Donizetti, which
throughout the opera delights and amazes. Added to this is a cast of excellent singers.
The role of Lucia demands technical brilliance and the ability to express emotions, from
foreboding, through ecstatic love, defiance and surrender culminating in the famous mad
scene. It is a huge role. Emma Pearson brought the pathos, the joy, the despair and final
madness to perfection, with the beauty of her voice and vocal control. Alok Kumar as
Edgardo matched Lucia in, vocal strength ardour, anger and final despair, so that the final
scenes in the opera did not flag but sustained the tension.

Special praise should be given to Morgan Pearse, who, as Enrico, sang and acted the role
of domineering brother, but who did have a small soft side, with conviction.

He even earned a few subdues boos at the curtain call – a sure sign that he has made his
mark.

Pelham Andrews, as Raimondo, brought a sense of reason, decorum and sense to the
action, until the horror of the Arturo’s death and Lucia’s mental collapse shattered his spirit.
Arturo. as Lucia’s husband for a day, until his untimely end, achieved the right sense of self
satisfaction and pretension. Samantha Rubenhold, as Alisa, Lucia’s maid and companion,
ably filled her role.

Singers are essential to the success of an opera, but, as in this production, the overall
effect is greatly enhanced by the set, the costumes, and lighting. Here the set was from
the John Copley production in London, where Joan Sutherland sang Lucia, and it
embodies all that grand opera represented in that time. The Revival Director, Laura
Hansford has achieved the same elevated atmosphere, aided by the costumes. At times
the singers looked like a medieval tapestry, set against the austere and lofty stonework.
The Adelaide Symphony Orchestra, conducted by Lucia Marin, added greatly to the overall
excellence, particularly the French Horn and the Flute player. The ensemble singers,
under the guidance of Anthony Hunt, again showed the depth of talent that our State
Opera can command.

There are three more chances to see this magnificent production and I would recommend
any lover of grand opera to hasten and buy a ticket, if you have nortalready done so. This
is an opportunity to see opera at its best.

State Opera South Australia Lucia di Lammermoor
Photo: Andrew Beveridge