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The Review - MUSIC - Classical & Jazz with TONY KIELY
Published: 21 February 2008

Harmonica adds something more

REVIEW:LUCIA DI LAMMERDOOR
Coliseum

ENO’s new production of Donizetti’s Walter Scott opera is gripping and musically superb.
A new edition by Roger Parker and Gabriele Dotto restores a glass-harmonica part in the orchestra that Donizetti cut, but originally wanted, adding an extra eeriness to the famous mad scene. It restores also his original higher keys of several arias, thus ratcheting up the tension; the singers rise to this challenge magnificently.
The American Anna Christy has a light soprano of the pre-Callas style, but is utterly convincing in the title role with expressive legato, pin-point coloratura, a stunning top F, and exquisite soft singing.
Director David Alden brings out the horror of her situation, trapped in a paternalistic society reminiscent of Bronte’s Wildfell Hall, a victim of power-mad male egos.
Mark Stone sings tremendously as her brother Enrico, bringing out the character’s sinister grip over her, with repellant suggestions of sexual abuse. As her lover Edgardo, Barry Banks’s ringing tenor rises stylishly to all the vocal bel canto and dramatic demands.
Dwayne Jones plays Arturo, the murdered husband, like a latter-day leering Prince Regent. Clive Bayley as the preacher Raimondo was indisposed, but his part was well sung in the wings by Paul Whelan, while Bayley brilliantly created the menacing character onstage.
Updated to the late 19th century, Charles Edwards’s sets appropriately evoke derelict Scottish castles. There are some unnecessary conceits which distract, but overall the momentum is maintained by tightly compelling direction.
Paul Daniel conducts fervently and the chorus and orchestra respond with great style.
HELEN LAWRENCE

• Lucia di Lammermoor is at the Coliseum until March 8 for six performances.
0871 911 0200

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