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| | Arts Calendar / June 8 / Opera |
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19:00 | Lucia di Lammermoor |
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 Opera by Gaetano Donizetti. 160 min (with one intermission). Libretto by Salvatore Cammarano. Music Director: Wolf Gorelik. Sung in Italian. "Lucia de Lammermoor" premiered in 1835 at the San Carlo Theatre of Naples. The composer, Gaetano Donizetti, was not only fascinated with the novel "The Bride of Lammermoor" by Walter Scott, which by then had more than once been adjusted to opera, but also had a personal fascination with the plot: one of his ancestors, Donald Izett (whose name was easily metamorphosed into Donizetti) was a Scott. Despite the giddy difficulties for performers (or perhaps because of them) this work of Donizetti’s is one of the most popular ones in the world. The first Lucia was the beautiful Fanny Tacchinardi Persiani. During the 19th and 20th centuries all the legendary opera divas have shined out in the part: Adelina Patti, Lily Ponce, Joan Sutherland, Maria Callas, Beverly Sills, Renata Scotto, Edita Gruberova. The 21st century’s prima donnas keep conquering the main character’s cloud-piercing heights of coloratura. Tenors too aspire to their glory; they too have in stock extremely high notes that the composer reserved for them towards the end of the opera. Lucia di Lammermoor has everything that can be expected of an opera classic: wonderful melodies that instantly stick in mind; passionate love and as passionate hatred against the background of an ancient Scottish castle; a magnificent opera prima donna and a tenor in love with her. The Music Theatre’s production was named one of the most spectacular events of the 2008-09 opera season and won the Golden Mask National Theater Award and the Casta Diva Russian Opera Award.
Stanislavsky and Nemirovich-Danchenko Moscow Music Theater  |
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 Opera in three acts to music by Pyotr Tchaikovsky. Libretto by Viktor Burenin based on Alexander Pushkin’s poem Poltava. Music Director: Tugan Sokhiev. Stage Director: Evg?ny Pisarev. Set Designer: Zinovy Margolin. Opera is based on Pushkin’s poem Poltava where personal drama is intertwined with critical events of Peter the Great period. The story reaches culmination on narrative about Poltava battle and it provides rich material. The fact is that Tchaikovsky is alien to a ‘grand style’ – thus it is needless to expect such a style of Peter I and Charles XII parts in Mazeppa. What attract composer primarily are characters feelings, emergence and the dynamics of the conflict. Moral aspect of Mazeppa was essential for Pushkin – ‘insidious evil’ he called him: betrayal of Peter I and revenge to Kochubei. Tchaikovsky follows Pushkin's interpretation and does not idealize Mazeppa; however, his hero is more complex and multi-sided. The ability to bend people to his will, backbone for reaching specific goal, authority and ruthlessness, intensity of the feelings – contradictory traits of hetman are revealed in the opera to the fullest. Lyrical aria ‘Oh, Mariya’, which became most popular, was created later (due to request of first Mazeppa performer – Bogomir Korsov). Aria organically completes the image.
Bolshoi Theater |
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