Opera Lyra Lucia Reviewed

Photo Credit: Mr. Sam Garcia courtesy of Opera Lyra

The Opera Lyra production of Lucia di Lammermoor saw its premiere last evening at the National Arts Centre in Ottawa. Miss Lyubov Petrova had been brought in to essay the role of Lucia after the originally booked soprano withdrew at the last moment. The cast included Mr. Marc Hervieux as Edgardo, Mr. Gregory Dahl as Enrico, Mr. Robert Pomakov as Raimondo, Mr. Nils Brown as Arturo, Miss Wendy Hatala Foley as Alisa, and Mr. Graham Thomson as Normanno. Opera Lyra Artistic Director Tyrone Patterson was on the podium, with Stage Direction by Mr. Henry Akina. The performance was recorded for broadcast later this year on CBC Radio 2.

COMMANDOpera was most curious to see how this particular Lucia would evolve given the talent on hand for this performance. Miss Petrova has been doing rather well for herself, ratcheting up one engagement after another with a prestigious season in front of her. Mr. Marc Hervieux owns a most extraordinary vocal instrument of great power with a dark rich timbre rarely found in this vocal range. Baritone Gregory Dahl had come to the attention of COMMANDOpera last year giving the most startling and unparalleled rendition of ‘Cortigiani’. The casting of these vocal instruments in Donizetti’s Lucia di Lammermoor should have warranted a total throw down performance. Unfortunately, the stars do not align at moments regardless of the purported vocal power engaged.

Miss Lyubov Petrova gave what could be most accurately described as the worst overall vocal performance of the evening or any Lucia in some time. Miss Petrova has built an excellent career as a spectacular, lighter coloratura soprano until she decided her voice was bigger than such work, determining to undertake the great dramatic coloratura repertoire. Horrible, horrible mistake. Last evening, she still owned the ability to express the sweetest pianissimo in quiet reflective moments with an artistry to spin out these notes in a manner few other global artists are capable of matching; this is where her great talent lies. The moment this soprano opened her instrument with any level of volume and/or stratospheric notes however, it was all over in the most brutal fashion. The piercing noise which emanated from Miss Petrova at full volume more often than not, could only oblige a listener to search for ear plugs. Lucia as written does not include a great many high notes, however the tradition of Lucia has come down to theatre goers with certain expectations in this regard. ’Regnavo nel silenzio’ began with the most ravishing understated tones, yet to a trained ear, one immediately sensed a certain edge in the vocal instrument which was initially put down to first act warm up (some artists warm up on stage given this size of a roll, and COMMANDOpera has no clue of Miss Petrova’s particular work ethic). By the time ‘Quando, rapito in estasi’ was drawn, it was becoming clear something was not right, and as the artist attempted a C in volume to conclude the stretta, the note ripped out with virtually no tone whatsoever. This did not bode well for the evening which lay ahead. In the following duet with Mr. Hervieux, the artist managed to hold her own vocally as Mr. Hervieux who owns a vocal instrument capable of the most incredible resonant volume, obviously was not singing at full power. A courtesy to another artist if COMMANDOpera has ever witnessed one. Nevertheless, when the orchestra was involved with the more incendiary passages, this courtesy benefited no one in the audience even in the fifth row, where COMMANDOpera was situated. Miss Petrova could not have been unaware of the performance which was unfolding,  leading up to the sextext ignoring traditional high notes altogether except for managing an initial and rather nice D in alt. The conclusion following the sextet in Lucia however DEMANDS an Eb (or a D if one must because an artist is over 50) in today’s theatres as the section contains some of the most explosively well  known music in the art form of Opera, and if you don’t have this singlular beyond critical note, WHY are you singing Lucia di Lammermoor? Miss Petrova did not have the note. The mad scene was perhaps the oddest of all insofar as there was virtually no histrionics one associates with madness. Miss Petrova stood at the top of the stairs for virtually the entire, repairing down the stairs for brief intermittences (utilising the far overused and second rate twirling of sword on the floor while spinning around to denote madness). The artist attempted  only the final expected Eb which was once again downgraded to a D, and held the note for three bars, releasing it immediately before it went far out of control. Miss Petrova’s Lucia was quite obviously showing ‘madness’  commencing with the fountain scene, which works if a certain delicacy of performance in portraying Lucia prevails through out. COMMANDOpera would advise that Miss Petrova handled the acting of the role brilliantly where this delicacy is concerned, for her Lucia was of the most believable like quality which was interesting as the soprano was not particularly waif like, but rather projected more ‘womanly’ on stage. Nevertheless, those who read COMMANDOpera regularly are decidely aware of this venues opposition to the use of high notes for effect to replace excellent vocal artistry. Lucia however, is a unique role for dramatic coloratura with heft, and an artist who determines to essay such works as this had better unequivocally own the technique and incumbent artillery required to do the roles justice. Miss Petrova simply is out of her league in this repertoire. 

Photo Credit: Mr. Sam Garcia courtesy of Opera Lyra

Mr. Marc Hervieux not only owns a great vocal instrument, but is a flawless and skilled actor on stage. This artist owns the rare ability to actually bring a character to life as though someone we know personally (Mr. Michael Fabiano also owns this ability with Edgardo, yet in a more youthful expression). Mr. Hervieux’s Edgardo was all brash and warrior; a man who had experienced a great deal in life beyond his rather few years. As he moved across the stage he did not swagger, yet one could not escape this was an Edgardo who came from a once great family which had been reduced to penury. In Italy there is a saying; ‘They are as proud as they are poor’. More appropriate words could not have been written for this Edgardo, as he positively exuded our original hero from the dark corners of Sir Walter Scotts The Bride of Lammermoor.  Depressingly, this is Mr. Hervieux’s farewell to the role of Edgardo, for there are no other vocal instruments of his dark and richly burnished tenor instrument save Mr. Alagna, who would undertake Edgardo so perfectly. What surprised COMMANDOpera was the fact there could be no question Mr. Hervieux did not sing at full voice unless he was in solo. These were the moments, when the audience would be exposed to the heldentenor qualities of this instrument. Without question, the initial duets with Lucia were sung at reduced vocal fire power, otherwise we would not have heard this already constrained Lucia at all. COMMANDOpera respects Mr. Hervieux’s decision to monitor his voice throughout the evening, so that the audience would enjoy a performance as best as could be had given the circumstances. ‘Tombe degli avi miei’ was sung in front of a lowered screen on the stage  revealing no set, yet the most heart rending vocal display of the night was given here. By the time the words ‘mai non passarvi, o barbara’  were uttered for the first occasion, he had silenced the ongoing coughing in the audience, such was the expressiveness of this instrument. The artist did suffer a vocal miscue in the last seconds, which is easily overlooked given his superb rendering of Edgardo for the audience last evening.

The Baritone, Mr. Gregory Dahl stole the show. Now look here, this is not supposed to happen, however this is precisely the reality of the evening. Enrico is jerk if ever there was a role written as such. Mr. Dahl in person, is one of the nicest men in Opera; everyone knows his gentlemanly nature. Perhaps, it is because of this COMMANDOpera was not expecting such perfection of Enrico the jerk as portrayed by Mr. Dahl. Mr. Dahl was a bully non pariel. He glared, narrowed his eyes (which actually read far beyond the stage), ran around the stage, jostled and whacked anyone in his way, generally making  everyone’s life a living hell. It must be noted, Mr. Dahl works out assiduously and is extraordinarily muscular; a more broad shouldered and believable Enrico has never been known on any stage. The only reason to the mind of COMMANDOpera this Lucia was interesting to watch, rests solely on the histrionics of the very capable Mr. Dahl. The most fiery of all moments were the exchanges between Edgardo and Enrico, as the testosterone was revved to such a degree as to make the price of any ticket worthwhile. When two male vocal artists own the ability to bring two antagonistic characters such as Edgardo and Enrico to life as complex individuals we know personally, all hell breaks loose. The rarity of such an event cannot be overstated. Anyone who follows Opera to a degree would have known the Enrico was going to be significant when ‘Cruda, funesta smania’ is perfectly sung, yet each note spat out at the same moment. An almost impossible feat to describe. Other noteworthy global baritones hope to portray Enrico with the viciousness so readily known by Mr. Dahl, yet clearly, none measure up to this calibre. Vocally, Mr. Dahl was in superb form throughout the evening: his vocal instrument perfectly negotiating each note with ease, attended by a crystalline volume which radiated to the back of the theatre. COMMANDOpera had spoken with Mr. Dahl last year after hearing his extraordinary ‘Cortigiani’. Last night however was the first opportunity to witness this artist live and in full out. Mr. Dahl ranks as one of the most incredibly talented and under viewed Baritone vocal talents on the globe today. A tremendous shame for those who watch Opera globally and know where greatness lies.

Mr. Robert Pomakov as Raimondo and Miss Wendy Hatala Foley as Alisa were sensational. Although this venue does not care for the character of Raimondo whatsoever, Mr. Pomokov essayed the role with a vocal brilliance which floored COMMANDOpera. Without question the most radiantly textured Raimondo heard in some time. Miss Hatala Foley outshone Miss Petrova vocally in any scene they were together. During the culmination of the sextet, Miss Hatala Foley was the only female vocal instrument on the stage which soared over orchestration with tremendous ease. Stunning to hear this instrument so unexpectedly excellent.  COMMANDOpera marvels at the talent of BOTH of these artists who virtually managed to overshadow all three of the main characters (and in the case of Mr. Hervieux and Mr. Dahl, this was no small feat). Mr. Nils Brown as Arturo and Mr. Graham Thomson as Normanno essayed thankless roles, yet did what they could with them. COMMANDOpera much admired the acting abilities of Mr. Brown who played Arturo as a senior and cultured courtier of great station, rather than the overbearing slob which is how Arturo is known. Mr. Brown’s portrayal made the most sense, as a senior (and moneyed) courtier looking for a young bride to continue his bloodline, would obviously suit Arturo far better.

Stage Director Henry Akina’s work on this Lucia was superlative. He clearly understood the sets he was working with, and moved the cast accordingly with great aplomb. The fight scenes were perfectly and believably staged, as were the actions of the chorus which he made a great deal of use of. The subservience of these locals was a demonstration of 15th century period at its most realistic, with the chorus most believable as overdressed serfs who were clearly uneducated and a rather hungry crowd; precisely who would inhabit a house which is down on its luck. COMMANDOpera has witnessed Mr. Akina’s work, and expected brilliance and deep thinking of the period, a perception duly fulfilled. This venue could go on and on about the endless variety of ‘side episodes’ which played out during the performance, but one particularly was noticeable in its perfection. During the sextet ALL eyes are on the main characters, yet when Edgardo throws down his ring, it lands on the floor (stage left) where a few of the locals virtually dive on the floor to acquire the piece of gold, only to have it removed from thier clutches by the glaring persona of Alisa. Did it detract from the main action? Not one iota. If anything it added a magical element suggesting another level of life within that moment. Brilliant, brilliant man is Mr. Akina.

Mr. Tyrone Patterson moved the National Arts Centre orchestra as deftly as was possible for the prima offered this evening. Mr. Patterson’s conducting of the Verdi repertoire ranks amongst the worthiest, yet the NAC orchestra however is an ensemble which is either off or on. A great oddity if there ever was one, given the esteemed Mr. Pinchas Zuckerman heads this unit. Perhaps Donizetti is not this orchestra’s strength. In speaking with Mr. Patterson on his take on conducting the composer of Lucia, he offered that Donizetti left a great deal of freedom to work with throughout his scores. This is a familiar notation from other conductors COMMANDOpera has spoken with regarding the composer. Still, this Lucia while enjoying an excellent rendition, did not offer any special moments which may have lifted the performance to another level. COMMANDOpera has witnessed personally Mr. Patterson conduct the most brilliant Verdi with this orchestra, and assumes the symphonic line of that particular master is more prevailing to the innate training and structure of programs the NAC ensemble generally undertakes.