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Customer Reviews for Opera Philadelphia - Lucia Di Lammermoor

3 Customer reviews
Overall
3.7/5

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Brilliant production

5/5
Nancy from Philadelphia, Pennsylvania
29th September 2018

I completely disagree with the previous reviewers. . I found the Opera Philadelphia production of Lucia to be stunning, compelling and riveting. The stylized sets, focused lighting, and stark use of color gave the production a high level of drama. What a refreshing break from the traditional castle interiors. Brenda Rae’s voice was powerful from start to finish. It was a brave decision to portray her as a meek and awkward young girl, and while I didn’t love the limited range of spastic gestures, it made her break out in the mad scene that much more powerful. A great Lucia for the MeToo moment.

The Ups and Downs of Philly's Lucia

3/5
Oliver de Arpita from Philadelphia, Pennsylvania
22nd September 2018

The scene was out of some horror film. The effort was certainly made to update Scotland but left the Scotland out of the picture. I would rather have the moors back. The costume design was a good attempt at mimicking Madrid's "Lucia". Overall a lot of hard work clearly put on the fabric design. Now for the voices: Clearly, our Lucia (Brenda Rae) has a voice, just not one made for the role of Lucia. I give her an A- for the effort. She sang her heart out but there was no projection. If it was not for her top range, I don't think she can be heard. Her acting however, was exceptional. What she did not have in her voice, she certainly compensated with her performance. I had great hopes for the tenor (Michael Spyres). Strong start but a weak end which left no "Bravos" to be heard. I so much wanted him to trade places the other Tenor (Lord Arthur), Andrew Ownes, who has tremendous potential. Two other voices that helped carry the performance to a respectable end were Cook and Van Horn.

Musical Brilliance Visual Offense

3/5
Tony D. Morinelli from Ardmore, Pennsylvania
22nd September 2018

Rae's incomparable bel canto soared and transcended. Her vocal lines slipped seamlessly and effortlessly through every passage. Why, why would a director have her on her back making snow angels during "Quando Rapito?" Why would he again put her on her back at the culmination of the mad scene? And when did Lucia develop what was clearly symptoms of autism, avoiding eye contact, avoiding touching? When did Walter Scott become Henril Ibsen and the misty moors of Scotland become the frozen fjords of Norway? That ice sheet made no economic sense and obstructed any scenic flexibility. Why did we have to be blinded by the fluorescent red and electric blue? Do these directors and designers have any real knowledge of what they are working with? Do they not know that their job is to enhance not to distract. We are not at the opera to see "their vision." But thank you Miss Rae. For you five stars.

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