(Production photo from a previous performance in 2009)
Lucia - Pretty Yende
Enrico - Marco Caria
Edgardo - Yosep Kang
Arturo - Attilio Glaser
Raimondo - Marko Mimica
Alice - Irene Roberts
Normanno - Jörg Schörner
Chor & Orchester der Deutschen Oper Berlin
Conductor - Daniel Cohen
Director - Filippo Sanjust
Among all the opera productions I saw in Berlin, this staging of Lucia by Filippo Sanjust first premièred in 1980 was the most conventional. A predominantly older generations turned out in the audience was not a surprise. It was the kind of evening for connection to the past and 'comfortable' if one rather passive with theatrical experience. At the overture, we saw the painted image of a pale white Lucia in the midst of darkened cloud surrounded by stage curtains. An open field followed with rest of the scenes shown under the high ceiling with a gothic interiors. The clothing fashion was continental orientated at the time of 1600s but we hardly saw any kilt or tartans. The stage sets reminded me the bygone practice of using big cardboard historic informed sceneries, 'park and sing' stage choreography with relatively pale yellow dim lighting.
(Production photo from a previous performance in 2009)
To put the debate of historical accuracy aside, which probably would go nowhere, scenic wise it might look grand as background, but it did not build the dramatic atmosphere connecting to the emotions and tensions as the opera progressed. The opening scene of Enrico and his knights congregated on an open ground was more a demonstration for rousing chorus than telling why Edgardo was so unwelcoming and revenge in atmosphere. Lucia and Edgardo meet up did not have that secretive impression with the yellowish stage lights maintained the same level throughout. Lucia argument with Enrico in a grand hall was more a vocal duet display than adding the tension and trauma of a disagreement. Edgardo forcing his way into the castle was the only dramatic part with swords displaying in mass and tension between rivalries and false jealousy. The stage light was so dim in the mad scene that one understood the focus was on Lucia dressing in white but none of the oppressed atmosphere when this poor woman was driven to madness, agony, hatred and eventually self destruction. Again Edgardo's suicidal last scene was more a routine display that did not connect devastation to action point, while the appearance of chorus around the royal tombs looked odd as a whole. These were not the fault of the principals or chorus as the dramaturg had made the best out of them being mobile and moved around as much as the choreography could allow, but the limitations of an outdated routine and concept. Thus, this production should have sent to storage in museum than staying on the repertoire list.
(Production photo from a previous performance in 2009)
Fortunately, the musical side was one of the best evenings I experienced this time in Berlin to compensate the theatrical disappointment and boredom. I never heard of Pretty Yende or Yosep Kang until this performance, and their singing made an outstanding impression, particularly in the mad scene and Edgardo's suicide. It is probably quite rare, to my knowledge and opera experience so far, that currently not many bel canto singers could match the purity and smoothness in tone like Yende and Kang. The singing sounded effortless and their timbre and tessitura fit into the part very well. Yende particularly had a beautiful timbre that very pleasant for the ears wanting to hear more. Appropriate coloraturas were employed and not overdoing. On terms of diction, I would say Kang was more Italianate than Yende and one did not need the surtitles to identify the words. Though Yende was more natural with acting and Kang seems too gentle for a passionate Edgardo. The only coordination issue Yende had was with Marco Caria, which the tempo in the duets was not quite together and resulted with hesitation. The flute solo in the mad scene was exquisitely played though I would still prefer the glass harmonica for that unique delicate tone colour. Daniel Cohen's tempo was the most robust among all the conductors I saw this trip and the orchestra was very responsive to his conducting. The orchestral playing kept a good momentum to build up the intensity throughout the evening that enhanced the connections between musical numbers. The only downside was came from the predominantly aged audience, when a sequence of coughing throughout the hall distracted the concentration on spell bounding singing during the mad scene. An update on the staging might have overcome all the problems I dare say.
(Yosep Kang in the front)
(Pretty Yende)
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