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Barbara Loots
As part of their 25th anniversary celebrations, Cape Town Opera is staging Gaetano Donizetti’s three act opera, LUCIA DI LAMMERMOOR at the Artscape Opera House until 23 June 2024.
Sir Walter Scott’s 1819 novel, The Bride of Lammermoor, inspired the Italian liberetto by Salvadore Cammarano for Donizetti’s operatic masterpiece that premiered in Naples in 1835.
As with any good operatic tragedy, the themes of love, betrayal and death/loss are central, with each becoming the focal point in Act One, Two and Three, respectively. It’s a story of three clans (set within a Scottish context) named Ashton, Ravenswood, and Bucklaw, with Ashton and Ravenswood being rivals and Ashton and Bucklaw trying to unite their clans for a stronger position. As is the standard tragic recipe, Lucia (the sister of Enrico, the Ashton head) finds herself romantically entangled with her brother’s mortal enemy, Edgardo (the Ravenswood head). To shatter the dreams of the lovers and to strengthen his clan’s position, Enrico betroths his sister to the rich lord Arturo of the Bucklaw clan. The drama unfolds in the 19th century Lammermoor Castle, where the feuding clans have almost wiped each other out.
The current Cape Town Opera staging of LUCIA DI LAMMERMOOR at the Artscape Opera House is directed by industry legend Angelo Gobbato. Kamal Khan takes up the conductor’s baton for the performances with the Cape Town Philharmonic Orchestra.
The orchestra’s performance is phenomenal, you could easily close your eyes and simply listen to the magical moody notes reverberating from the orchestra pit and be very happy indeed.
Brittany Smith (Lucia), Lukhanyo Moyake (Edgardo) and Conroy Scott (Enrico) give exquisite vocal performances. Lonwabo Mose as the Calvinist chaplain, Raimondo Bidebent also impresses.
As far as performance standard goes, LUCIA DI LAMMEMOOR celebrates the exquisite talent and range of the Cape Town Opera company and the Cape Town Philharmonic Orchestra with great success. In fact, if these two talented groups united to simply bring LUCIA DI LAMMERMOOR to audiences as an opera in concert it would be practically flawless.
Where the current production falls short though is the lack of coherent identity as far as the artistic direction is concerned. The production lacks a clear vision. It forces the merging of an 19th century adventure with elements from our modern social media driven world. Much like the forced marriage between Arturo and Lucia, it ends in a bit of tragic disorder. The melding of two clashing worlds detracts from the vibrancy of the opera.
If one wants to modernise a classic opera, you should do so fully, and transport every element of it to a different era and setting. The inclusion of two cellphones (apparently only used by two characters, Enrico and Normanno as Enrico’s retainer) along with the display of projected Instagram scrolling images, does not serve Donizetti’s vision.
In a story where miscommunication (through intercepted message between Lucia and Edgardo) is at the centre of the tragedy, such miscommunication is unconvincing if one places them in a world where cell phones and social media are accessible.
Normanno (Van Wyk Venter) who in Donizetti’s tale is captain of the castle guard, in this staging looks as if he just stepped out of an audition for Uncut Gems or alike, with his costume and persona feeling completely out of place. Here he appears to be more drug pusher than a loyal, militant presence. This completely shifts the tone and intention of the opera. Also, the hinted at attempted sexual assault of Lucia by Normanno in the opening of Act One feels unnecessary and adds nothing to Donizetti’s opera. In a further twist towards the end, it appears as if the decision was made to morph Normanno from drug dealer to doctor with the inclusion of hospital ward elements, forcing yet another modern layer onto Donizetti’s creation, while trying to keep it linked to its classical roots.
The theme of drug use/abuse is pushed so far throughout the production (with Lucia being drugged from the start to subdue her and Enrico being shown as an addict) that it muddies the water as to Lucia’s apparent decent into (further) madness as the tale unfolds.
It makes it difficult to ascertain whether the intent is for Lucia to be mad from the very start or initially fragile and driven to madness by the arranged marriage and apparent betrayal of her true love. Allowing room for interpretation that Lucia starts of as emotionally fragile due the passing of her mother and then gradually spirals into madness gives her ultimate mad scene so much more opportunity for heightened impact. However, the interlaced drug abuse throughout this current production takes away that opportunity for real depth in character development.
Artistically, Cape Town Opera’s staging of LUCIA DI LAMMERMOOR appears to be using Donizetti’s masterpiece to push a different agenda to that of the original. I would have been more in favour of them committing to a complete modernisation, taking ownership of the changes and fully transporting audiences to a re-imagined opera. As it currently plays, this staging straddles two worlds and in doing so shows no real respect to either the classic or the "updated" vision.
What is successfully translated to stage is the bones of the timeless tale of love lost. The musical brilliance on display remains intensely emotive. If you go see LUCIA DI LAMMERMOOR simply for the wonderful vocal and orchestral performances you will still be able to appreciate the impact of Donizetti’s soaring, moody melodies.
You have until 23 June 2024 to see LUCIA DI LAMMERMOOR at the Artscape Opera House. Tickets are available online through Webtickets. Please note the production carries an age restriction: No under 16s.