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[Met Performance] CID:200330
Lucia di Lammermoor
Metropolitan Opera House, Sat, November 14, 1964
Lucia di Lammermoor (327)
Gaetano Donizetti | Salvadore Cammarano
Review 1:
Review of Peter Davis in Musical America
The sixth Met performance of “Lucia di Lammermoor” on November 14, featured Nicolai Herlea’s first Enrico and Flaviano Labo’s first Edgardo of the season. Mr. Herlea certainly had no problems with the role which, barring the two arias in Act I, offers few challenges and even fewer rewards. His voice was unruly at first, but he quickly settled down to his work and somehow managed to make Enrico a bluff, likable villain.
Mr. Labo had the unenviable task of following the hullabaloo generated by Joan Sutherland’s Mad Scene, with his extended scene in the Ravenwoods’ tombs (located somewhere in the Okefomokee Swamp judging from the tropical vegetation that festooned the stage). His singing was gratifying and he brought off several well-chosen “mezza voce” effects in “Tu che a Dio spiagasti l’ali.” Edgardo is better suited to his light vocal equipment than the more strenuous roles that are usually assigned to him. Manrico, Cavaradossi and the like, are well within his capacity, but only in an auditorium smaller that the Metropolitan.
The rest of the cast remained unchanged from the first night. Silvio Varviso conducted.
Search by season: 1964-65
Search by title: Lucia di Lammermoor,
Met careers
Lucia di Lammermoor
Metropolitan Opera House, Sat, November 14, 1964
Lucia di Lammermoor (327)
Gaetano Donizetti | Salvadore Cammarano
- Lucia
- Joan Sutherland
- Edgardo
- Flaviano Labò
- Enrico
- Nicolae Herlea
- Raimondo
- Bonaldo Giaiotti
- Normanno
- Robert Nagy
- Alisa
- Carlotta Ordassy
- Arturo
- Charles Anthony
- Conductor
- Silvio Varviso
Review 1:
Review of Peter Davis in Musical America
The sixth Met performance of “Lucia di Lammermoor” on November 14, featured Nicolai Herlea’s first Enrico and Flaviano Labo’s first Edgardo of the season. Mr. Herlea certainly had no problems with the role which, barring the two arias in Act I, offers few challenges and even fewer rewards. His voice was unruly at first, but he quickly settled down to his work and somehow managed to make Enrico a bluff, likable villain.
Mr. Labo had the unenviable task of following the hullabaloo generated by Joan Sutherland’s Mad Scene, with his extended scene in the Ravenwoods’ tombs (located somewhere in the Okefomokee Swamp judging from the tropical vegetation that festooned the stage). His singing was gratifying and he brought off several well-chosen “mezza voce” effects in “Tu che a Dio spiagasti l’ali.” Edgardo is better suited to his light vocal equipment than the more strenuous roles that are usually assigned to him. Manrico, Cavaradossi and the like, are well within his capacity, but only in an auditorium smaller that the Metropolitan.
The rest of the cast remained unchanged from the first night. Silvio Varviso conducted.
Search by season: 1964-65
Search by title: Lucia di Lammermoor,
Met careers