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[Met Performance] CID:190210



Lucia di Lammermoor
Metropolitan Opera House, Sat, February 17, 1962









Review 1:

Review of Michael Brozen in Musical America
Despite (or perhaps because of) the competition earlier this year, Roberta Peters, in her first Lucia of the season, brought a goodly amount of vocal and histrionic interest to the title role, A tendency, in her first scene, for her upper register to sound covered was overcome by Act II. Although Miss Peters' high E-Flat was not a thing of beauty, the rest of her mad scene was vocally flexible and accurate and dramatically, touchingly demented. She deserved the curtain calls.



Carlo Bergonzi, who sang his first Edgardo of the season, is the kind of musician rare among tenors and even rarer at the Met. Except for some excusable lapses in the tomb scene – it was, after all, his big moment – he almost entirely avoided the swoops and strains of most of his colleagues, concentrated instead on unaffectedly beautiful singing and was by no means overshadowed in what often turns out to be a one-woman opera.



Conducting his first Lucia at the Metropolitan, Martin Rich, after some ensemble problems in Act I, brought a great deal of excitement to this oft-told tale.


Search by season: 1961-62

Search by title: Lucia di Lammermoor,



Met careers

• Martin Rich [Conductor]
• Roberta Peters [Lucia]
• Carlo Bergonzi [Edgardo]
• Lorenzo Testi [Enrico]
• Norman Scott [Raimondo]
• Robert Nagy [Normanno]
• Carlotta Ordassy [Alisa]
• Charles Anthony [Arturo]
• Carole Kroon [Dance]
• Craig Crosson [Dance]