Many directors have updated classic operas, like the company’s most recent “Rigoletto” stagings, set in 1960s Las Vegas and Weimar-era Berlin.īut by transporting Donizetti’s bel canto tragedy to present-day America for his Met debut, Stone is breaking new ground. Pretty or not, this mad scene will be different than any “Lucia” - any production, period - in the Met’s history. “She’s covered in blood at this point, so it won’t be as pretty,” Stone said, explaining how Sierra will look when the staging opens on April 23.
Tapper, M.D., and the Rosalie J.Simon Stone paused during a recent rehearsal at the Metropolitan Opera, looked up at the stage, and surveyed his new production of Donizetti’s “Lucia di Lammermoor.” Nadine Sierra, singing the title role in a secondhand wedding gown, was preparing to descend the rusting fire escape of an old house for her famous, climactic mad scene.
Production a gift of the Estate of Michael L. For more information on health and safety policies, visit our commitment page.Ī co-production of the Metropolitan Opera and LA Opera
Show-stopping tenor Javier Camarena adds to the bel canto fireworks as Lucia’s beloved, Edgardo, with baritone Artur Ruciński as her overbearing brother, Enrico, and bass-baritone Christian Van Horn as her tutor, Raimondo.Īll audience members must be fully vaccinated against Covid-19 and wear face masks at all times inside the Met, except when eating or drinking in designated areas. Now, she takes on one of the repertory’s most formidable and storied roles, the haunted heroine of Lucia di Lammermoor, in an electrifying new staging by in-demand Australian theater and film director Simon Stone, conducted by Riccardo Frizza. In recent seasons, soprano Nadine Sierra has brought down the house at the Met with virtuosic vocalism and captivating stage presence as Gilda in Rigoletto, Susanna in Le Nozze di Figaro, and Ilia in Idomeneo.
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