Donizetti,Lucia di Lammermoor : NBR New Zealand Opera, Aotea Centre, Auckland, NZ. 12.7. 2007 (MS)

 

Elvira Fatykhova as Lucia 

Since bel canto was rediscovered by Maria Callas and Joan Sutherland in the 1950's Lucia di Lammermoor has become a repertoire staple and audience favourite, but over the decades the work has almost become a parody of itself. Mention Lucia and you think of Scottish kitsch, gothic gloom, swirling tartan and a soprano that literally goes over the edge with vocal acrobatics and over-the-top dramatics that leave you gasping for more. Or perhaps, less.

In its first production of the year, the NBR New Zealand Opera has opted for a new production by renowned Australian director, Lindy Hume in collaboration with New Zealander Kate Hawley as set and costume designer. They have certainly taken a broom to this old warhorse adding insight and invention in a spare and elegant production that tells the story with the utmost clarity while avoiding all the standard clichés. Combined with a cast that is equal to Hume's task this is a most satisfying evening of music theatre and one that proves that less is more.

Perhaps the most surprising thing about Hume's production is that it is really rather traditional. However, that is certainly not to say that there is anything routine or dull about it. Ideas are suggested in simple, straightforward ways: the unit set at once evokes the crumbling castle walls, the brooding grey sky of Scotland, while idle graffiti-like doodles suggest the varying states of Lucia's mind. The Ravenswood interiors are depicted by row upon row of antlers, a sure signal that we are living in a male dominated world.

Hawley's exquisite costumes are period, yet avoid any particular Scottish reference and have been crafted with minute detail right down to the last chorus member. Some of the tableaux - for example the wedding scene with the men around the table - are reminiscent of paintings of the period. Phillip Dexter's brilliant lighting keeps the mood dark, while avoiding any feeling of gloom. Overall the stage pictures reflect the period and the mood to perfection and are a constant pleasure to the eye.

In this setting Elvira Fatykhova's Lucia seems totally isolated, but this is exactly as it should be. Her diminutive figure heightens the sense of her vulnerability within this male dominated world and Hume's careful direction ensures that we are drawn into her plight. Her first scene with her lover, Edgardo, offers some hope of happiness, genuinely felt in this production, but all too soon the manipulation takes over and her sense of despair becomes apparent. Fatykhova plays the role somewhat between a Sutherland and a Callas. She possesses a fine voice, with excellent technique and is a constant joy to listen to, and while her coloratura is seamless it is not as developed as some of her more illustrious predecessors. However, what we get is a vocal performance that matches her dramatic portrayal of the role, where insight and sensitivity take the place of vocal or dramatic histrionics. There were times when she could have opened up her voice a bit more particularly in the Mad Scene, but this will surely come as she grows more deeply into the role.

Judd Arthur (Raimondo) Elvira Fatykhova (Lucia)

The other main protagonists are Lucia's brother, Enrico, who is hell bent on restoring the fortunes of the Ashton family, and her lover and family rival, Edgardo. Jason Howard as Enrico was an imposing figure both vocally and dramatically, although a little more menace would have accented this important aspect of the plot more clearly. Yvan Momirov cut a dashing figure as Edgardo and he sang with volumes of passion. However, there was a tightness at the top of the voice, which resulted in some rather forced sounds.

The remainder of the cast contributed strongly to the performance: Judd Arthur's Raimondo, Carmel Carroll's Alisa, Derek Hill's Normanno and Benjamin Fifita Makisi as the ill-fated Arturo all portrayed their roles convincingly both vocally and dramatically. The chorus under the direction of John Rosser also added their stamp on the production and the entire ensemble combined thrillingly for the famous sextet at the end of Act II.

Andrea Licata conducted the Auckland Philharmonia with passion, offering sensitive accompaniment to his singers, without necessarily drawing any new revelations from Donizetti's score.

This Lucia will be remembered for its good looks, sensitive direction and Fatykhova's heart-warming assumption of the title role. Not to be missed if you are in the area.

 

Michael Sinclair
 

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