Review: Lucia di Lammermoor, Arcola Theatre

I approached the Arcola for the last time in the current Grimeborn Opera season—another triumph this year—and with much anticipation, since Barefoot Opera is offering one of the great bel canto operas: Donizetti’s 1835 Lucia di Lammermoor. I got there — despite the tube strike — and I was not disappointed. 

There is a palpable sense of making opera come to life, not least by the quality of the singing and the playing, but the crossover abilities and willingness to go along with the novel staging. There’s Laurence Panter, MD extraordinaire, pianist, bowed xylophonist and singer as Normanno, together with Alistair Sutherland, a mean accordionist, who has a wonderful, rounded dark baritone voice as Raimondo. Lydia Kenny on alto and tenor sax and Lucy Mulgan on double bass complete the band that remarkably makes the score sing within these limited resources. 

Beren Fidan is rapidly making a reputation for herself in high dramatic coloratura soprano roles, and she always rises to the occasion; a clean, beautifully supported line all through the range with impeccable diction and tone. On this occasion, her Edgardo was Jack Dolan, who arrived on the scene with a full-blooded clarion Italian spinto. This was exhilarating to hear, especially in the demanding bel canto tessitura that Donizetti demands for this role. He started a bit con belto (first night nerves?) but by the beginning of the second half, he had calmed down and gave us dynamic variety, beauty of tone and was utterly affecting at his distress on the point of suicide. 

Invidious though it is to say, Philip Smith as Enrico was the standout performer; I believed everything he sang and did, helped by a luscious, beautifully supported baritone voice. Every note is centred with complete control of his instrument, especially ringing out at the top of his register. It was absolutely thrilling to hear and watch. And not forgetting newcomer Eamonn Walsh, as Arturo, a clear, ringing tenor with talent written all over him. He is aided and abetted by Deirdre Arratoon, as Aliso, an alluring mezzo who can act, moving seamlessly from comedy to tragedy and engaging with us on all levels.

Director Rosie Kat and designer Fenne de Jonge take the famous mad scene as inspiration for the rest of their interpretation. Musically, they have added a mother’s lullaby to show us Lucia in happier times—the jury’s out on that one. Conceptually, we have no quaint Walter Scott ‘Scottishisms’ despite the story’s origins, but a modern-day psychodrama and madness as a result of the manipulation of the woman by the men, helped by drugs and alcohol. 

Design-wise, a lit LED tube is attached snail-like on a central podium, which can intriguingly be pulled up to wrap around Lucia, representing her soul in knots and being strangled by the web of fate—at least that’s what I got from it. It sometimes became more trouble than it was worth. I’m also not sure if their idea of having Edgardo, physically there in the mad scene with the other principally male characters, surreally cross-dressed, actually worked. It strangely diminishes the poignancy and emotion of seeing Lucia reduced to this state by toxic male manipulation.

These slight misgivings notwithstanding, I cannot fault this superb evening in the theatre. It’s heart-rending, committed, provocative and utterly engaging, principally through the high quality of its singing and performances across the board.  Bravi, bravissimi Barefoot — you’ve done it again!

Composer: Gaetano Donizetti
Director: Rosie Kat
Musical Director: Laurence Panter
Designer: Fenne de Jonge
Lighting: Cara Hood

Lucia di Lammermoor plays at The Arcola as part of the Grimeborn Festival until
Saturday September 13