![]() Months later the bill was filled, with much anticipation, by Anna Netrebko, and it was recorded: it is from these performances that this DVD comes. When Diana Damrau took over the following season, her Lucia was more solid at first and did not become loony and murderous until the second act. The enormous Met stage dwarfed the tiny Natalie Dessay when the production first opened and actually helped the interpretation–birdlike and nervous, she radiated instability. ![]() The combination of real and surreal works well it’s an effective production. Mara Blumenfeld’s costumes–high boots and dresses buttoned to the neck–are wonderfully oppressive. She stages the sextet in the second act as a photo shoot: what could that mean? Why would everyone sit still while the bride is being slandered? Details, details.ĭaniel Ostling’s sets are nicely atmospheric: crags and dead trees for the first act a Victorian ballroom for the second and a mostly empty stage with only a grand, curved staircase and balcony backed entirely with a huge, surreal, gray-white moon for the Mad Scene. In Zimmerman’s reading, Lucia is emotionally fragile from the beginning: it doesn’t take much to push her over the edge. The latter is too literal, and frankly makes no sense, but it’s nicely eerie. We see the ghost as Lucia describes it in her first aria, and it is the ghost of Lucia that hands the dagger to Edgardo in his final scene and helps him commit suicide. The ghosts are both of family histories and manifestations of a disturbed mind. ![]() ![]() The Met’s “new” production of Lucia di Lammermoor, which happily replaced Francesca Zambello’s catastrophic staging (coffins everywhere) late in 2007, has been updated by Mary Zimmerman to a ghost-filled Victorian era.
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