Only last week I saw the Royal Opera House’s production of Donizetti’s Lucia di Lammermoor radically rethought by director Katie Mitchell and here I am in the Bavarian State Opera watching another woman’s take on Lucy Ashton’s tragedy. Polish director Barbara Wysocka, in her 2015 production, agrees with her English colleague in seeing no victim in the title role. As she points out, Lucia actually does nothing she is told to during the whole opera. When she agrees to marry Arturo, it is after she herself had considered that she had no future with Edgardo and, in that case, she could indeed make a sacrifice for her family. After all, it was her family too. In order to stress the imposition made of women in families involved in politics, Ms. Wysocka decided to update the plot to the 1960’s in the United States – the predicaments of the Kennedys offerring her inspiration. While I do find the dramaturgie valid and insightful, the staging itself is less accomplished than its concept. Lucia is first shown as some sort of silly goose, while Enrico is a telenovela-style bad guy. When we finall reach the Mad Scene, their developments seem a bit awkward. Actually, I did not like the scene at first – Lucy in a glittery party gown, a pistol and a microphone (it could have been inspired in Marilyn Monroe’s singing of happy birthday to you, when the blond bombshell was living her own mad scene, but that was not the case). But then I realized that this Lucy’s traumatic event was realizing that she was, after all, the victim. What she was acting out was, in fact, being IN CONTROL, pointing her gun at the guests and making this opera her little show. Again, all this could have been more powerfully put across if more carefully directed. In any case, imaginative it was.
Munich had an edge on London by having two women in charge, for the conductor was Kirill Petrenko’s assistant Oksana Lyniv. Although there were some rough edges now and then (and the balance stage/pit was perfectible), this was one of the most exciting performances of a bel canto opera I have ever listened to. If Giuseppe Sinopoli had conducted Lucia (had he? I have no idea!), the results would have been similar. Ms. Lyniv had a “global” approach to tempo, determining the beat in every number in relation to the overall concept and to the depth of the musical material provided by Donizetti; if there were something that you should hear, she would make sure that you would. In this sense, every contribution of woodwind and brass would be highlighted in its dramatic-musical sense and no string accompanying figure would be considered too unimportant in its potential to add meaning. In a score in which Donizetti gave such prominence to solos from the orchestra, this proved to be very important.
Casting this evening’s performance must have been something of a puzzle. It was originally announced as Brenda Rae, Pavol Breslik, Alessandro Scotto di Luzio, Levente Molnár and Goran Juric. Only Mr. Juric survived the cancellations. All in all considered, I do not think that the audience had much to complain. Armenian soprano Nina Minasyan’s vocal nature suggests rather Mozart than bel canto, but her purity of tone, bell-like sonorities, accurate yet natural coloratura, soaring mezza voce and musicianship offered more than compensation for some tense acuti, textual genericalness and lack of tonal variety. As the edition here adopted the revisions based on the autograph (plus the Marchetti cadenza with minor adaptations), I was particularly thrilled to hear the upward and downward scales on perdonare ti possa un Dio in her duet with the baritone. Moreover, the way she blended her voice with the glass harmonica in the end of the mad scene was the very definition of otherworldly. Brava. Her Edgardo, Italian tenor Piero Pretti lacked tonal glamour, but sang sensitively and, although he seemed a bit tired in his last scene, this did not prevent him from offering true affection. I am not convinced that Luca Salsi is a singer for this repertoire. He seemed to find the part on the high side too and was sometime wayward with note values and pitch, but he knows how to do his bad guy routine. Goran Juric started off brilliantly, offering noble tone and real depth. However, his voice became increasingly curdled and woolly at times.