[Met Performance] CID:1280



Lucia di Lammermoor
Metropolitan Opera House, Mon, December 3, 1883




Lucia di Lammermoor (3)
Gaetano Donizetti | Salvadore Cammarano
Lucia
Marcella Sembrich

Edgardo
Italo Campanini

Enrico
Giuseppe Kaschmann

Raimondo
Achille Augier

Normanno
Amadeo Grazzi

Alisa
Imogene Forti

Arturo
Vincenzo Fornaris


Conductor
Auguste Vianesi







Review 1:

Review in The New York Times :

METROPOLITAN OPERA HOUSE

"Lucia" was again presented at the Metropolitan Opera House last evening with the same cast as appeared before in this opera. This work affords Mme. Sembrich her brightest opportunities for the display of those vocal accomplishments and the lovely voice which have made her reputation. In this rôle she achieved her greatest triumphs before visiting this country, and it may fairly be said that it has proved to be her finest work since she came here. Last evening she was in the best of voice and spirits, and no intricacy of ornamentation or range of tones appeared too dazzling for her to attempt. She glided up and down the fine compass of her voice with marvelous grace, clearness, and agility, and in her elaborate cadenzas held the audience breathless with astonishment. Her acting, while not striking in force, was intelligent and well directed and assisted her musical efforts materially. Of course, the mad scene, that grand opportunity for the exhibition of vocal agility, was the occasion of her greatest effort. In the two arias, "Ardon gli' incense" and "Spargi d' amaro," she displayed the fine scope and quality of her voice to perfection. Her bird-like upper tones were really thrilling in their richness and purity, while her smoothness and finish were wholly admirable. She was recalled many times amid great enthusiasm. Signor Campanini was the Edgardo. His performance of this part has long been known as one of the most forcible, picturesque, and thoughtful pieces of work on the operatic stage. Last night the great tenor was in a mood of unusual earnestness. He might have been playing Edgardo for the first time, so thoroughly interested and self-unconscious was he in his work. But only the results of patient study, artistic insight and priceless gifts could be seen in the performance. The long scene with Lucia In the first act was a most manly and poetic piece of love-making, and the music was sung with exquisite taste and feeling. The scene of the signing of the contract, however, gave the tenor the [impetus] for his best work. His appearance at the head of the stairway was a picture. From that point on he acted with a passion and fervor that knew no bounds save those of good taste. He carried his audience quite away, and after the fall of the curtain there was a tumult of applause. Such a piece of acting as Signor Campanini gave in this scene last night was a phenomenal exhibition on the operatic stage. It would have stood out boldly in a theatrical performance among the best actors. In the closing scene of the opera the tenderness and deep grief of Edgardo were depicted with touching art, and the two plaintive arias which close the opera were sung with rare feeling. The remainder of the cast was satisfactory. Signor Kaschmann deserving praise for his manly and vocally effective performance of Enrico. The chorus was efficient and the work of the orchestra generally commendable.



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