of Patrick Summers. Enrico comes off essay lists as especially villainous in this production, and Ludovic Téziers handsome, robust baritone filled the bill in hearty fashion. Pretty Yende and Michael Fabiano. The issue is not the voice so much as what that voice should serve: the character. The voice is smaller than Met audiences are accustomed to for Lucia, and, if memory serves, perhaps even in comparison with her own prior performances. The tenor role, which was a favorite of Enrico Caruso, with its potent tomb scene in Act III and a pair of gorgeous arias, tombe degl'avi miei (Graves of my ancestors) " and tu che a Dio spiegasti l'ali (You who have spread your wings. Special kudos for the harp solo from Emmanuel Ceysson and the glass harmonica solo in the Mad Scene from Friedrich Heinrich Kern. Lucia di Lammermoor at the Metropolitan Opera the female ghost who turns up during Lucias Act 1 aria and again for Edgardos suicide scene would be a strong contender. Dessays performance suggests as much. The company did its first performances of the opera in 1883 and it immediately caught on; between 19, it was never gone for more than a season.
Even Arturo, the arranged husband Lucia murders, was charming as sung by the young tenor Matthew Plenk. Zimmerman have clearly, carefully considered every motion (the sopranos physical performance Thursday was essentially identical to the one she gave in 2007, when the production was new ) and the result is a Lucia almost entirely blank. While she rose to the occasion with some good singing in the Mad Scene, her portrayal remains a work in progress-and she's seemed the least "mad" of the principals. La pietade in suo favore (The compassion for her)." While the role is key to the story, it rarely makes the impression that it did here. That changed when Maria Callas took it on, back in the early '50s, and made the drama as important as the singing (or more so).