Opera of the Week: Women protest Lucia’s death
OperaThis week’s streamed opera from OperaVision is Lucia di Lammermor
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Staatsoper Hamburg’s Lucia di Lammermoor turns the city into a stage. Inspired by worldwide women’s protests, director Amelie Niermeyer has filmed dancers in the city and invites them into the theatre via video. They rush to the aid of the main character Lucia, who – like the director – asserts herself as a woman in a man’s world. The title role is sung by Venera Gimadieva.
Singers are Christoph Pohl as Lord Enrico Ashton, Francesco Demuro as Sir Edgardo di Ravenswood, Beomjin Kim as Lord Arturo Bucklaw, Alexander Roslavets as Raimondo Bidebent, Katja Pieweck as Alisa and Daniel Klge as Normanno.
The Plot: Lucia loves Edgardo, the last heir of her family’s enemy clan. They are in danger, but Lucia refuses to betray her love. A ring falls to the floor, the nightmare begins – the nocturnal sky fills with lightning and thunder, madness and blood reign, there is a corpse, then another and yet another. For pure passion and dramatic tragedy this is the opera to watch .
Available for viewing until 11.09.2021 at 12h00 CET
I’m sorry, what?
Ditto. What????????????????????
Lucia di Lammermoor is a very pro-woman opera, Donizetti and Cammarano eliminated the evil female character of Lucia’s mother, Lady Ashton, clearly the villainess in Walter Scott’s novel. The bad guys in the opera are all male, even Edgardo comes across as self-centered and narcissistic. Lucia’s the tragic heroine but not just a defeated, weak female victim of patriarchy. She’s a woman strong enough to kill her groom. In the novel the groom survives.
Could it be as bad as Katie Mitchell’s production at Covent Garden where poor Lucia has to spend most of the last act in a blood filled bath!?
Don’t ruin a good opera with feminutter nonsense. Write your own bad opera instead.
This is certainly the worst production of Lucia I have ever had to suffer through. I felt sorry for the singers who, often upstaged by projected visuals, had to perform in this mess. The opening scene of Act 2 is omitted entirely and, if the subtitles are accurate, the libretto has been rewritten to voice the director’s radical feminist views.