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 correct across the nook, and in between the winter and spring season of the Canadian Opera Firm, an excellent 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 Inventive 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 delight. 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 basic 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 provides in when Enrico produces a solid letter displaying that Edgardo has betrayed her. On her wedding 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 Forged
Soprano Holly Chaplin nailed the titular function together with her highly effective coloratura and agile instrument. Her beautiful bel canto, although not fully 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 swap from dramatic outbursts to emotional despair with a variety of vocal colors that have 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 prime 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 full of 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 performing, 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 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,” through 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 question 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 have been considerably drab, it saved the give attention to Donizetti’s dramatic rating and the singers. SOLO additionally deserves credit score for accessibility by utilizing bigger fonts for his or her surtitles.
This manufacturing was not with out its issues. The sizeable refrain of over 30 newbie singers (and likewise stiff actors) was a hit or miss of vocal high quality, with the lads sounding particularly hesitant. Vacca needed to rein within the refrain’ tempo on a number 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 might simply be missed when the singing from the leads was nearly 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 formidable and profitable enterprise of this daunting opera shouldn’t be solely a highlight of Canadian rising stars, but in addition a testomony that regional opera corporations want our help.
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Denise Lai is a Physiotherapist and School Professor. She is an alumnus of the Toronto Mendelssohn Choir and a rusty piano participant.
