Season & Tickets

Lucia di Lammermoor

Reviews

The Seattle Times

“Seattle Opera triumphs with ghostly Lucia di Lammermoor. Polish soprano Aleksandra Kurzak, making her company and role debut as Lucia, set the theater alight both vocally and dramatically. She made me believe she really was Lucia. Stage director Tomer Zvulun’s eerie, poetic production marshals principals and superb chorus on a clever set, drawing intensely lifelike performances from all concerned. Conductor Bruno Cinquegrani paced the score authoritatively, and excellent orchestral playing was highlighted by impressive solos from harpist Valerie Muzzolini Gordon and flutist Scott Goff.”
-Bernard Jacobson, The Seattle Times
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Bjorn Wahl, via Facebook

“This is one of the best performances I have seen in Seattle. I saw Anna Netrebko as Lucia at the Met last year but Aleksandra Kurzak's performance topped this and was simply outstanding last night!”
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The Gathering Note

“Aleksandra Kurzak, a determined young woman of considerable talent, makes a memorable debut as Lucia. Her portrayal is remarkably acute and telling. She has plenty of technical resources, and a top that flourishes and blooms. The Mad Scene is the high point of the opera, along with some other glorious moments like the sextet. Kurzak made the most of it, not only vocally, but theatrically. She obviously has a bright future. William Burden has much to offer as her lover Edgardo. He is an attractive man [with] an appealing voice – he sang well and with passion. Ljubomir Puskaric’s Edgardo, Lucia’s brother, has a huskiness and depth that is welcome in this heavy-duty character. As Raimondo, Arthur Woodley has never sounded better. His voice was big and compelling.

[Conductor] Bruno Cinquegrani has a gift for rhythmic phrases, strong propulsion and sensitivity to singers. Stage director Tomer Zvulun has interpolated a number of elements, like huge shadows projected on a backdrop (very stirring), and the use of ghosts, also very effective. Robert Dahlstrom’s huge, multi-layer unit set works well – all those stairs creating multiple levels of playing action.

The second set of three singers on Sunday afternoon was proof again that Seattle Opera presents good singers in alternate casts. Davinia Rodriguez was excellent and thoroughly satisfying as Lucia; she also has a facile technique, a handsome top and a full-range of dramatic sensibilities. Her Edgardo, Scott Piper, possesses a handsome voice and passionate lyricism that worked well. Philip Cutlip’s Enrico was strong-minded and dramatically potent. No small thing these virtues.”
-R.M. Campbell, The Gathering Note
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Gretchen Freed Loschen, via Facebook

“We saw it last night and I thought it one of the best productions I've seen in my 35 years of opera subscription!”
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Opera Cascadia

“Seattle Opera’s magnificent new Lucia di Lammermoor succeeds on every level, a near-total triumph to a degree that astonishes me. It’s a brilliant night at the opera. Aleksandra Kurzak was absolutely first-rate. Her voice sounded made-to-order, even her softest singing filled the house. Her acting was vivid and she was a beautiful figure on stage. Her arias and her mad scene brought the house down. William Burden’s lyric tenor was suited to the role and the production well. His [final] scene was spellbinding, and his singing throughout was bright and refined. He was also a handsome and romantic figure onstage, as if he had stepped right out of the works of Sir Walter Scott. Ljubomir Puskaric, [as Lucia’s brother Enrico, had] several chances to show off his brilliant, clarion high notes.

Seattle Opera mainstay Arthur Woodley was a tower of strength in the bonafide principal role [of Raimondo.] His limber and beautiful bass voice was a pleasure to hear. He deservedly got one of the biggest ovations of the night.

It was a wonderful night at the opera. I’m going to go again. Two more times, if possible. Because a performance like this is what opera should be.”
-Dale Abersold, Opera Cascadia
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Kevon Wick, via Facebook

Great performance. Aleksandra Kurzak as Lucia was wonderful. This is a timeless theme, very artfully done. Very much worth going to see."
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Cornichon.org

“Seattle Opera’s dazzling new production of Lucia di Lammermoor: bright, shining madness [with] several heart-stopping moments. You can’t help but fall in love with the singers. Kurzak, an immensely talented and accomplished lyric soprano, sings with crystalline brilliance and is technically perfect and emotionally convincing. William Burden becomes more assured with each [Seattle] appearance. He has the unenviable task of following one of the most famous scenes in opera with anguished aria of his own; he pulls it off with aplomb. Neopolitan conductor Bruno Cinquegrani, a Donizetti specialist, leads the orchestra with assurance and verve. What makes this Lucia such a pleasure is the seamless collaboration of international talents in the service of music written close to 200 years ago, music that gives a depth of meaning to a timeless story, performed by singers who give it emotional depth.”
-Ronald Holden, Cornichon.org
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Jonathan Caves, via Facebook

“It was amazing with great performances all around.”
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Parent Map

“One of the most beautiful operas you’ll ever hear, Lucia also represents an excellent chance to expose teens to opera. Why? Short acts, plentiful scene changes, melodic arias, tragic madness and bloody death. Perfection! Opera buffs will find this Lucia heart wrenching, enthralling, impeccable and thrilling, and even opera newbies will be swept away by the music – gorgeous arias, duets, and, notably, Lucia’s signature sextet. A perfect entrée into opera.”
-Kristen Russell, Parent Map
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Oct. 16 - 30, 2010

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Photo Credit

Aleksandra Kurzak, Lucia di Lammermoor © Rozarii Lynch Photo