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[Met Performance] CID:200230
Lucia di Lammermoor
Metropolitan Opera House, Thu, November 5, 1964
Lucia di Lammermoor (326)
Gaetano Donizetti | Salvadore Cammarano
Review 1:
Review of Conrad S. Susi in Musical America
The Metropolitan Opera’s production of “Lucia” had Gianna d’Angelo in her first Lucia of the season on November 5. Miss d’Angelo gave a touching performance in spite of occasional vocal shortcomings. She managed all the high notes, except one at the end of the Mad Scene, and seemed to be constantly straining for many of the others. Her florid passages were clear and colorful, except once again, at the end of the Mad Scene, where her strength seemed to have run out. For all the favor she found with the audience, I must confess I did not find her very engaging.
Arturo Sergi, in his first Met Edgardo, seemed to have troubles. He overcompensated by exaggerated dynamics and gestures that made his voice sound as though it was percolating through mud. Perhaps finding himself in a gothic cathedral in the middle of the jungle set him on this track. Anyway, he was unable to cope with most of his music.
Silvio Varviso, conductor of the limp beat, was in the pit shooing away the opera’s tension and drama. He and the singers had opposing opinions in several tempos and the performance lacked cohesion.
Search by season: 1964-65
Search by title: Lucia di Lammermoor,
Met careers
Lucia di Lammermoor
Metropolitan Opera House, Thu, November 5, 1964
Lucia di Lammermoor (326)
Gaetano Donizetti | Salvadore Cammarano
- Lucia
- Gianna D'Angelo
- Edgardo
- Arturo Sergi
- Enrico
- Robert Merrill
- Raimondo
- Bonaldo Giaiotti
- Normanno
- Robert Nagy
- Alisa
- Carlotta Ordassy
- Arturo
- Charles Anthony
- Conductor
- Silvio Varviso
Review 1:
Review of Conrad S. Susi in Musical America
The Metropolitan Opera’s production of “Lucia” had Gianna d’Angelo in her first Lucia of the season on November 5. Miss d’Angelo gave a touching performance in spite of occasional vocal shortcomings. She managed all the high notes, except one at the end of the Mad Scene, and seemed to be constantly straining for many of the others. Her florid passages were clear and colorful, except once again, at the end of the Mad Scene, where her strength seemed to have run out. For all the favor she found with the audience, I must confess I did not find her very engaging.
Arturo Sergi, in his first Met Edgardo, seemed to have troubles. He overcompensated by exaggerated dynamics and gestures that made his voice sound as though it was percolating through mud. Perhaps finding himself in a gothic cathedral in the middle of the jungle set him on this track. Anyway, he was unable to cope with most of his music.
Silvio Varviso, conductor of the limp beat, was in the pit shooing away the opera’s tension and drama. He and the singers had opposing opinions in several tempos and the performance lacked cohesion.
Search by season: 1964-65
Search by title: Lucia di Lammermoor,
Met careers