Opera
Lucia di Lammermoor
, , , , February 2025
The opera
- Libretto by
- Salvatore Cammarano
- Composer
- Gaetano Donizetti
Conductor and director
-
Conductor
Daniel Oren
-
Director Jacopo Spirei
Characters and cast
-
Lord Enrico Ashton Lucas Meachem
-
Lucia Jessica Pratt
-
Sir Edgardo di Ravenwood Iván Ayón Rivas
-
Lord Arturo Bucklaw Vincenzo Peroni
-
Raimondo Bidebend Marko Mimica
-
Alisa Miriam Artiaco
-
Normanno Marco Miglietta
-
Lord Enrico Ashton Maxim Liisin
-
Lucia Aigul Khismatullina
-
Sir Edgardo di Ravenwood Matteo Desole
-
Lord Arturo Bucklaw Vincenzo Peroni
-
Raimondo Bidebend Francesco Leoni
-
Alisa Miriam Artiaco
-
Normanno Marco Miglietta
-
Lord Enrico Ashton Lucas Meachem
-
Lucia Jessica Pratt
-
Sir Edgardo di Ravenwood Iván Ayón Rivas
-
Lord Arturo Bucklaw Vincenzo Peroni
-
Raimondo Bidebend Marko Mimica
-
Alisa Miriam Artiaco
-
Normanno Marco Miglietta
-
Lord Enrico Ashton Maxim Liisin
-
Lucia Aigul Khismatullina
-
Sir Edgardo di Ravenwood Matteo Desole
-
Lord Arturo Bucklaw Vincenzo Peroni
-
Raimondo Bidebend Francesco Leoni
-
Alisa Miriam Artiaco
-
Normanno Marco Miglietta
-
Lord Enrico Ashton Lucas Meachem
-
Lucia Jessica Pratt
-
Sir Edgardo di Ravenwood Matteo Desole
-
Lord Arturo Bucklaw Vincenzo Peroni
-
Raimondo Bidebend Marko Mimica
-
Alisa Miriam Artiaco
-
Normanno Marco Miglietta
Orchestra and chorus
-
Orchestra
Orchestra del Teatro Comunale di Bologna
-
Chorus
Coro del Teatro Comunale di Bologna
-
Chorus master Gea Garatti Ansini
Creative team
- Sets
- Federica Parolini
- Sets
- Mauro Tinti
- Costumes
- Silvia Aymonino
- Costumes
- Agnese Rabatti
- Lighting
- Alessandro Verazzi
- Lighting
- Giuseppe Di Iorio
Dates and tickets
Dates and performances
-
Opening nightAt 20:00
-
Opening nightAt 18:00
-
Single performance slotAt 18:00
-
Single performance slotAt 16:00
-
Single performance slotAt 20:00
Running time
Total 155 min. approx.
Venue
Comunale Nouveau
Details
- Production
- Nuova Produzione del Teatro Comunale di Bologna con Fondazione Teatro Donizetti di Bergamo
- Information
-
Impossible love, family feuds, a forced marriage. And deception, betrayed trust, a bloodstained ghost, murder, madness and suicide. By 1835, when Donizetti wrote Lucia di Lammermoor, the Romeo and Juliet theme was well established in opera, close to the feelings of new generations set against families who controlled wealth through marriage. The subject, drawn from Walter Scott, has Gothic colours, but it is not only the spell of Scottish castles that secured its success: the French version (1839) stirred in Emma Bovary an identification she could not bear. Madness is the only way out of a labyrinth of oppression. Lucia’s delirium is still an emblem of the longing for freedom and self-determination, whether the voice duets with the spectral glass harmonica Donizetti wanted (said to drive its players mad with its vibrations) or with the flute that came into use, like the cadenza that replaced in tradition the space originally left to the sopranos’ imagination.
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