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From Opera January 2004
New Sussex Opera this season celebrated its 25th anniversary with an illuminating production of Lucia di Lammermoor. From its early years at the Brighton Festival NSO has tackled an adventurous repertory, including three first British performances plus operas that daunt bigger and richer companies, and has benefited from the input of such directors as Nicholas Hytner and Keith Warner. It now tours to places both in and beyond Sussex. The King's in Southsea, one of the surviving Matcham theatres, is undergoing restoration, aimed at completion for its centenary in 2007. Though still sadly dilapidated in certain areas, its size and character make it an ideal venue for opera, with good acoustics and a welcoming ambience.
The director of Lucia, Michael Ruta Moxham, explained in a programme note that he had been influenced by psychological parallels between Walter Scott's Lucy Ashton and the headstrong heroines of a later era such as Cathy Earnshaw, Hedda Gabler and Miss Julie, all of them victims of a male-dominated society. But he avoided a time-specific setting, opting for three symbolic elements-a high black wall which gradually disintegrated as the fortunes of the Ashtons crumbled, a fountain that became Lucia's tomb, and a table that served as the platform for her madness-set in claustrophobic black drapes.
The responsive cast was headed by Suzannah Clarke as the highly-strung Lucia, her singing clear and well-focused in the duet with Edgardo, her manner almost flirtatious; the lovers broke into a waltz in the closing bars. She introduced more dramatic expression into the duet with Enrico, and her voice projected strongly at the top of the sextet. She was somewhat restricted by having to perform the first part of the Mad Scene on a table shared with her wedding cake, which she proceeded to attack with the dagger that had killed Arturo, but she touchingly conveyed the tragic unravelling of Lucia's senses in Donizetti's original version of the scene, without the elaborate flute cadenza. She was partnered by the Edgardo of Colin Judson, who brought ardour and intensity to their duet and dramatic thrust to his singing in the Wolf's Crag scene with Enrico, revealing a good command of Donizettian style. He sang Edgardo's final aria with beautifully shaded expression.
Colin Campbell lent his rounded, steady baritone to the portrayal of Enrico, most complex of the principal characters, who appeared to cherish more than brotherly feelings for Lucia. His important opening aria would have made greater impact delivered from further downstage, but he made a calculating villain. The other roles were adequately filled and the amateur chorus of 14 sang valiantly. The conductor, Bruno Cinquegrani, was supportive of his singers and drew warm-toned playing from his 26 instrumentalists. The performance was given in David Parry's lucid translation.
Margaret Davies
