Natalie Dessay Lucia Di Lammermoor

But in the cabaletta to the entrance aria, the coloratura was used to express girlish joy, to get at Alisa, and gradually turn her around to Lucia's way of thinking, so that she did eventually relent and allow Lucia to delight in her love.Inevitably, it was the mad scene where Zimmerman and Dessay created their best work.The look of the whole production, with the exception of the Wolf's Crag scene where the set is rather perfunctory, is fantastic.

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Of course, the mad scene is a hard act to follow, particularly when given such a dramatically compelling performance as Dessay's.

However, Giuseppe Filianoti as Edgardo had got the audience very much on side in his earlier scenes through some very emotionally direct phrasing and acting, so that he was well received.

Unfortunately, tension is lacking from this scene owing to some very distracting staging.

Although I do think having a photographer at the wedding is an idea which could have worked very well, the decision to use it during the sextet was misguided.

It was quite simply the most impressive and skilful acting I have seen on the operatic stage.

Vocally, she was imperfect, and at times rather raddled, but the way she delivered the coloratura and the top notes in the service of the drama was remarkable.

Given what we have seen of the hot blooded Enrico and Edgardo in the preceding scenes in the drama, the likelihood of their having enough passivity to submit to a photo shoot at this point is low, and the absurdness of the situation robs the music of its emotional punch. Zimmerman's great strength with Lucia appeared to be getting the coloratura to mean something.

Initially, I was disappointed with Natalie Dessay (in the title role), who seemed disengaged with the dramatic situation.

He was assisted by some very sympathetic and subtle conducing from Joseph Colaneri who ensured Filianoti did not have to linger any longer than necessary outside of his comfort zone.

Indeed, Colaneri gave great support to the whole cast in what is inevitably a voice-led opera, allowing them the freedom they needed to create effects consistent with the bel canto style.

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