The Metropolitan Opera performance of Lucia Di Lammermoor features Joan Sutherland in a triumphant return to the Met after a four year absence. Dame Joan gives a performance of astounding facility and musical sensitivity. Gaetano Donizetti's tragic masterpiece is based on Sir Walter Scott's novel, The Bride of Lammermoor, a brooding tale of love, murder, and vengeance set in seventeenth-century Scotland. Taped live in its entirety on November 13, 1982.
The exceptional nature and high artistic quality of this performance justify publication of this video even though the filming was done only to preserve the performance for Teatro Regio's archives and therefore offers few close-up shots and occasionally unclear lighting.
Lucia di Lammermoor is a dramma tragico (tragic opera) in three acts by Gaetano Donizetti. Salvadore Cammarano wrote the Italian language libretto loosely based upon Sir Walter Scott's historical novel The Bride of Lammermoor.Donizetti wrote Lucia di Lammermoor in 1835, a time when several factors led to the height of his reputation as a composer of opera. Gioachino Rossini had recently retired and Vincenzo Bellini had died shortly before the premier of Lucia leaving Donizetti as "the sole reigning genius of Italian opera"…
Dame Joan Sutherland and tenor Alfredo Kraus star in Donizetti's tale of sixteenth century opulence and decadence. Joan Sutherland is unquestionably the unsurpassed Lucrezia of all-time, and this production at Covent Garden showcases her incomparable coloratura technique. Bel canto specialist Richard Bonynge conducts The Orchestra of the Royal Opera House in this historic performance.
Album by one of the best light lyric tenors in the world in the second half of the twentieth century, the Spanish Alfredo Kraus (1927-1999), also considered the greatest bel canto singers of his generation and one of the greats. Kraus was not given to do musical concessions out of the repertoire that was more like his voice and style, but this album, reissued on CD in 1998 from the original in 1958, is one of those samples with a repertoire dedicated to the popular Italian music. Kraus is accompanied by the 'Orquesta de Cámara de Madrid' conducted by Enrique Estela, on arrangements by José Olmedo.
One of the best lyric tenors in the world in the second half of the twentieth century is the Spanish Alfredo Kraus (1927-1999), also considered the greatest in bel canto of his generation. The great master and lyric teacher was no friend to make concessions out of the musical repertoire that was more suited to his voice and style, but this album, recorded and released in 1965 and reissued in the 90s, is one of those rare samples. Kraus is accompanied by Tuna of Fray Luis de León College of Madrid and plays a total of 12 items of typical rondallas.
At the outset, I have to say that this opera is one of my least favorites. Somehow, it just doesn't communicate with me. I lived with the Sutherland-Pavarotti recording on London for a long time, listened to it occassionally, and then left it on the shelf. I know that both of them were acclaimed for their performances on this London recording, and of course, Sutherland and Pavarotti's singing certainly merit such acclaim. That said, however, I found both of them very ungainly in this music.
By L. Mitnick
Yes! It is a brilliant work and does contain some of Puccini's most memorable melodies. So if you have to have a Puccini La Bohemè in your collection, then, this is the one. It has THE best casts on record , You have Scotto at her riveting best as Mimi & the wonderful Carol Neblett as Musetta, the best in these rolls.Then there are the men: Alfredo Kraus as Rodolfo, Sherrill Milnes as Marcello, Paul Plishka as Colline & Matteo Manuguerra as Schaunard. What more can you ask for, eat your heart out.-Amazon-
This is French Grand Opera at its best. This is considered by music historians as "ONE OF THE CHIEF CORNERSTONES OF FRENCH OPERA", Tell, Robert le Diable, and La Juive being the other corner stones. As a work, it is simply thrilling and very exciting musically. Auber knew how to keep his audience on the edge of their seats.By A Customer