Donizetti: Lucia di Lammermoor

Donizetti: Lucia di Lammermoor

Donizetti: Lucia di Lammermoor
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CD Details

Conductor: Sir John Pritchard
Performer: Joan Sutherland
Performer: Renato Cioni
Performer: Robert Merrill
Performer: Cesare Siepi
Edition: Music CD
Audio: English (Unknown)
Format: Import, Original recording remastered
CD Release Date: 2001-03-05
Music Label: Decca Legends
Soundtracks:
  1. Act One, Scene 1 - Preludio
  2. Act One, Scene 1 - Tu Sei Turbato!
  3. Act One, Scene 1 - Cruda, Funesta Smania
  4. Act One, Scene 1 - La Pietade In Suo Favore
  5. Act One, Scene 2 - Ancor Non Giunse!
  6. Act One, Scene 2 - Regnava Ne Silenzio
  7. Act One, Scene 2 - Quando, Rapito In Estasi
  8. Act One, Scene 2 - Egli S'avanza
  9. Act One, Scene 2 - Sulla Tomba Che Rinserra
  10. Act One, Scene 2 - Qui Di Sopsa Eterna...Verranno A Te Sull'aure
  11. Act One, Scene 3 - Lucia Fra Poco A Te VerrÃ?
  12. Act One, Scene 3 - Appressati, Lucia...Il Pallor, Funesto, Orrendo
  13. Act One, Scene 3 - Soffriva Nel Pianto
  14. Act One, Scene 3 - Che Fia
  15. Act One, Scene 3 - Se Tradirmi Tu Potrai
  16. Act One, Scene 3 - Ebben-...Di Tua Speranza
  17. Act One, Scene 3 - Ah! Cedi, Cedi, O Piu Scigure
  18. Act One, Scene 3 - Al Ben De'tuoi Qual Vittima
  19. Act 1, Scene 4 - Per Te D'immenso Giubilo
  20. Act 1, Scene 4 - Dov'e Lucia
  21. Act 1, Scene 4 - Chi Mi Frena In Tal Momento
  22. Act 1, Scene 4 - T'allontana, Sciagurato
  23. Act 2, Scene 1 - Orrida E Questa Notte
  24. Act 2, Scene 1 - Qui Del Padre Ancor Respira
  25. Act 2, Scene 2 - D'immenso Giubilo
  26. Act 2, Scene 2 - Ah! Cessate Quel Contento
  27. Act 2, Scene 2 - Oh! Qual Funesto Avvenimento
  28. Act 2, Scene 2 - O Giusto Cielo... Il Dolce Suono
  29. Act 2, Scene 2 - Ohime! Sorge Il Tremendo Fantasma
  30. Act 2, Scene 2 - S'avanza Enrico
  31. Act 2, Scene 2 - Spargi D'amaro Pianto
  32. Act 2, Scene 2 - Si Tragga Altrove
  33. Act 2, Scene 3 - Tombe Delgi Avi Miei
  34. Act 2, Scene 3 - Fra Poco A Me Ricovero
  35. Act 2, Scene 3 - Oh Meschina!
  36. Act 2, Scene 3 - Tu Che A Dio Spiegasti L'ali

Music reviews of Donizetti: Lucia di Lammermoor

Music Review: The Queen of Opera
Rating: 5 Stars

I have 2 Callas Lucias, 4 Sutherland Lucias, Moffo's Lucia, Peter's Lucia, Caballe's Lucia, Sill's Lucia and a few others. So I cosider myself a good critic when it comes to this opera.
The best Lucias are the ones with Callas, Sutherland, and Sills.I would not want to be without any of these. Although the Roberta Peter's and Anna Moffo's are also very interesting and lovely.
Here, I'll take on Sutherland's most spectacular Lucia, her 1960 Decca recording(and that surpasses her 1959 live version with Serafin in my opinion).
In 1960, Sutherland's voice was huge and clear as it was in her "Art of the Prima Donna" best seller. And sorry to say she will never sing like that again. Saying who was the most spectacular Lucia of our time is a personal thing. But I dare say that most knowledgeable Lucia fans will say that either this or the 1959 live Lucia are the most breathtaking.
The voice. It is so clear, the squillo so dramatic, the tone quality so girlish and innocent and high notes so rocket like and precise. And that's just to start.
The trills are, of course legendary. Everyone knows that they are the spinning of two notes so fast yet you can still distinctively hear both notes. That is unique among even the most famous coloraturas. In our time, only Sills at her best could come close to it.
The staccato are fast, dartlike, loud, and dead on. No one in recent times can touch these in her mad scene. Only Tetrazzini or perhaps Galli-curci had the speed. But did they have the size? I think not. Sutherland's staccati are among her most unique and tremendous talents.
The fioratura is like a string of pearls. Always distinct from its neighbor, and each one as lovely as it's neighbor. Also, in this Lucia, her tempo for the runs are very precise. Which is not always the case for many of her later Lucias and other roles. The arpeggios in the mad scene are breath-taking to say the least. I know of no one else who can even attemp those. Well, perhaps Beverly Sills.
Now for the incandescence high notes. They are in a class of its own. No one in memory had high notes with such ring, clarity, immense size and squillo than Dame Joan's. But what makes it even more incredible is how precise and dependable they are. Since I've had the pleasure to hear her Met Lucia, I can safely say they are the best on this planet.
Now, to the highlights of this definitive Lucia...all Sutherland, of course.
Regnava nel silenzio is exquisite. She uses the most girlish of tones, almost cold, silvery, to chill the listener. Then comes the series of trills before Quanto repita that have to be heard to believe! The fast aria is joyous with gigantic high notes that are as effortless as you can get. And the voice! The fioratura! Spectacular is an understatement. She crowns the cabaletta with a perfect high D, although surprisingly, she did not hold it. ( We can't have everything ).
The duet with Edgardo is lovely and delicate. Sutherland didn't use a large sound. Instead, she sounds flowing, and effortless, with lots of ring and soared on all the high notes. I actually think that Decca undermiked her here...But nevertheless, the effect is lovely indeed.
The duet with Enrico is shere vintage Sutherland. She takes the optional series of fioratura flawlessly, all the time creating sounds that is both sad and ravishing. She crowns the duet with another flawless huge high D.
The sextet is another highlights that Sutherland has no rivals. She simply soars, and soars, and soars - above the orchestra, above the other singers, and above the orchestra. The repeating high B's are full of fire, ring, and they are so powerful that one has to gasp to wonder where the power of these mammoth high notes are coming from. AT the same time you also hear this innocently sounding girlish voice of the utmost clarity. She ends the great ensemble with another perfect high D flat, of course...no problem.
After a few more arguments with Enrico, the diva concludes act2 with a gigantic high D that she holds and holds. A phenomenal high D that actually convade feelings of extreme sorrow.
Finally, the mad scene from the 1960 Lucia. And it is the best thing that Joan Sutherland ever put on record. First of all, she was in powerful voice. Second, she was dead on. Thirdly, she hit every imaginable coloratura obstacle with complete precision and perfection that one can only drop their jaws in disbelieve. This mad scene put her 1971 mad scene seem to shame. We all know the cadenzas of her mad scene. And this one is the only one that has not one note out of place. It is so perfect that even the engineers can't use their tricks to make it better. Every trill, staccato, arpeggio, chromatic scales, and high notes textbook perfect. All sung with the most beautiful, silvery, and pure soprano sound of that era, or any era for that matter. It is the mad scene of a lifetime. And she concluded it with a trill on high B flat that no other coloratura soprano can do as perfectly as her even if they trilled it one octave lower. Yet the two notes of the trills are even more defined from its neighbor then Joan's lower trill. This is remarkable. Only Sutherland can produce high trills of this caliber. And then after that, she produce a titanic high E flat to end all high E flats. I have to admit she could have held this note a bit longer, but it is so perfect that it is not necessary.
Skipping to the final aria, Sutherland again was a singing machine again. The highlight of this famous aria are her trills. These trills are short and are low. Yet only Sutherland can produce them with great size, speed and accuracy. Again, the two notes of the trills are coordinated with its neighbor. Perfect, what can I say?
The last high E flat was again gigantic and she really holds this one. Ending her part of Lucia di Lammermoor in grand fashion.
So there it is, Sutherland's best Lucia. In my opinion, the best in the entire catalog, and quite possibly the best in the history of Donizetti's masterpiece.
More Donizetti: Lucia di Lammermoor free music reviews:
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