Southern Ontario Lyric Opera: Donizetti: Lucia di Lammermoor. Soprano Holly Chaplin, Lucia; tenor Joel Ricci, Edgardo; baritone James Westman, Enrico; baritone Michael Robert-Broder, Raimondo; Alexander Cappellazzo, Arturo/Romanno, mezzo-soprano Stephanie Yelovich, Alisa. Directed by Greg Finney, with the SOLO Refrain and Orchestra performed by Sabatino Vacca. March 8, 2025 on the Burlingoton Arts Centre.
Spring is true across the nook, and in between the winter and spring season of the Canadian Opera Firm, a superb manufacturing by a smaller, lesser-known firm fills the void for opera lovers.
Southern Ontario Lyric Opera
Celebrating its tenth anniversary this yr and based by present Creative Director Sabatino Vacca, SOLO is a regional not-for-profit opera firm offering a platform for rising artists to showcase their abilities.
Their productions are proudly all-Canadian, and when the night opened with audiences standing to sing the nationwide anthem, the within of Burlington Performing Arts Centre bursted with unprecedented nationwide satisfaction. This Lucia is directed by Gregory Finney, a superb baritone in his personal proper, who wowed me simply final week in Toronto Operetta Theatre’s The Gondoliers.
Lucia di Lammermoor
A tragic opera written by Gaetano Donizetti, it’s a traditional Romeo and Juliet story set in Seventeenth-century Scotland. Lucia Ashton is in love with and secretly engaged to Edgardo Ravenswood, her household’s sworn enemy. Lucia’s brother Enrico is enraged by this association, and coerces her to marry Arturo Bucklaw, for political and monetary causes.
Initially defiant, Lucia offers in when Enrico produces a cast letter displaying that Edgardo has betrayed her. On her marriage ceremony day, Edgardo abruptly exhibits up and curses Lucia for breaking her promise. Descending into insanity, Lucia kills Arturo and dies quickly after. Edgardo, devastated by the information of her loss of life, takes his personal life in despair.
The Solid
Soprano Holly Chaplin nailed the titular function along with her highly effective coloratura and agile instrument. Her beautiful bel canto, although not utterly easy, was safe and assured. Donizetti has written unrelenting leaps, runs, and trills for this demanding function, which Chaplin executed with laser precision.
Within the well-known mad scene, she portrayed Lucia’s maniacal change from dramatic outbursts to emotional despair with a variety of vocal colors that had been most stunning when sung sotto voce. Chaplin is a rising star and deserves to be heard extra on the large phases.
Joel Ricci’s buttery tenor and ringing high tones made him the right Edgardo. Displaying equal vocal prowess as Chaplin, collectively they made an endearing pair of lovers. His Act three aria “Fra poco a me ricovero” was movingly crammed with deep sorrow.
One other standout efficiency was from James Westman, who isn’t any stranger to the operatic world. As Enrico, he commanded the stage along with his sonorous baritone and sensible appearing, whereas his heated exchanges with Lucia erupted like fireworks.
There have been strong performances from the supporting solid: Alexander Cappellazzo did double responsibility as Arturo and Normanno. As Normanno, he was over-powered by the orchestra, however his lyrical tenor shone by way of as Arturo. Stephanie Yelovich was one other vocal powerhouse as Alisa, Lucia’s handmaid, with a velvety mezzo voice.
The function of Raimondo, the sympathetic chaplain, is normally sung by a bass, however Michael Robert-Broder’s baritone had a wealthy depth that befitted the function. His Act three aria “Dalle stanze ove Lucia,” during which he delivered the sombre information that Lucia had gone mad and killed Arturo, was surprisingly devoid of alarm, and the dearth of feelings from the refrain standing within the background was equally bewildering.
The Efficiency
One of many best moments of the opera was little doubt the well-known sextet “Chi mi frena in tal momento?” in Act two. Collectively, the six characters created a wealthy and complicated musical tapestry.
Though the set was easy and the costumes had been considerably drab, it saved the give attention to Donizetti’s dramatic rating and the singers. SOLO additionally deserves credit score for accessibility through the use of bigger fonts for his or her surtitles.
This manufacturing was not with out its issues. The sizeable refrain of over 30 beginner singers (and likewise stiff actors) was a hit or miss of vocal high quality, with the boys sounding particularly hesitant. Vacca needed to rein within the refrain’ tempo on a couple of events. There have been stunning moments from the orchestra within the harp and flute solos, however the brass had notable struggles with pitch and tempo.
These misgivings may simply be neglected when the singing from the leads was pretty much as good because it was. Lucia di Lammermoor has a few of opera’s most mesmerizing music, and it’s a pity that it isn’t carried out extra usually.
SOLO’s bold and profitable enterprise of this daunting opera is just not solely a highlight of Canadian rising stars, but in addition a testomony that regional opera firms want our help.
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Denise Lai is a Physiotherapist and Faculty Professor. She is an alumnus of the Toronto Mendelssohn Choir and a rusty piano participant.
