Tragic opera proves powerful at OU
NORMAN — The story was downbeat, to say the least, but the singing and music were powerful and poignant in a production of “Lucia di Lammermoor.”
The opera by Gaetano Donizetti, with a libretto by Salvatore Cammarano, was previewed Tuesday at the University of Oklahoma.
Based on a novel by Sir Walter Scott, set in Scotland in 1702, it was staged at OU’s Reynolds Performing Arts Center, 560 Parrington Oval.
Skye Singleton shone as Lucia, forced into a political marriage by her brother, despite her secret love for the former lord of her family’s castle.
A little high-pitched and uneven at times in the early going, Singleton got better and better in the demanding, “Romeo and Juliet”like role.
Especially memorable was a “mad” scene in which Singleton, in a bloody white gown, seemed almost liberated by her wedding night murder of the groom.
Adding to the impact were Singleton’s mirror-like interactions with a ghostly, rag-clad dancer from a well, whose grim, long-ago fate, echoes that of Lucia.
Elena Damiani and Julia Payne will alternate in the role of the ghost dancer from the well.
Paul Whitehead brought warmth, a strong romantic voice and overheated reactions to events to the part Edgardo Ravenswood, Lucia’s forbidden love.
Alex Bolerjack was another strong voice and presence, as the title character’s brother, only remorseful too late for such evil actions as a crucial forged letter.
David Soto Zambrana had some good moments as the brother’s main henchman, and Dorian McCall portrayed a chaplain, caught in the middle, well.
More excellent support came from Robert Hartfield as the unfortunate bridegroom, and from Rachel Sweeney, as Lucia’s elderly nanny, vainly trying to warn her.
Kelsey D’Emilio will alternate as Lucia, with Rodney Westbrook as Edgardo, Thomas Cannon as the brother, and Gerard D’Emilio as the chaplain, on Sunday.
Other assets were superb period costumes, large choral numbers, lively village folk dances, choreographed by Jeremy Lindberg, and the OU symphony, directed by Jonathan Shames.
Performed in three acts, with two intermissions, under the brisk direction of William Ferrara, the opera leavens doom and gloom, by testifying to the spirit of its tragic lovers.
It is highly recommended in the rest of its run.
— John Brandenburg,
for The Oklahoman