Name: Lucia di Lammermoor
Start: 1972-07-01T00:00:00.000Z
End: 1972-07-01T00:00:00.000Z
Location: Teatro Colón

Organization

Stage director

Tito Capobianco

Singer

Beverly Sills

No role specified

Alfredo Kraus

Teatro Colón

Lucia di Lammermoor -  (Lucia of Lammermoor)

Buenos Aires

Argentina

HISTORICAL ARCHIVE 

 Lucia di Lammermoor is considered Gaetano Donizetti's masterpiece. This week, the Teatro Colón presents the version staged in July 1972 with the stage direction of Tito Capobianco and a cast made up of figures such as Beverly Sills and Alfredo Kraus. 

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Lucia di Lammermoor Donizetti

Public

Lucia of Lammermoor

Approved

Bass

Instrumentalist

Pianist

Violinist

Cellist

Violist

Flutist

Clarinetist

Guitarist

Organist

Percussionist

hornist

Oboist

Bassoonist

Trumpeter

Contrabassist

Trombonist

Harper

Saxophonist

Harpsichordist

Bassist

Accordionist

Tuba Player

Recorder Player

Lutenist

Tenor Violinist

Timpani

Mandoline Player

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Violino Piccolo Player

Viola da gamba

Musette de cour Player

Viola Pomposa Player

Archlutenist

Vibraphonist

Cornettist

Viola d’amore Player

Theorbist

Composer

Conductor

Librettist

Set designer

Costume designer

Choreographer

Lighting designer

Dancer

Actor

Chorus master

Video designer

Dramaturge

Translator

Sound designer

Repetiteur

Makeup artist

Executive producer

Hairstylist

Other

Stage Manager

Choir

Orchestra

Poet

Vocal coach

Teacher

Photographer

Broadcasting

Illustrator

Writer

Writing and performance

Chorus Director

Wig & Makeup Designer

Orchestra Operations

Extra

Bass-baritone

Contralto

Soprano

Mezzo-soprano

Countertenor

Tenor

Baritone

Spoken

Child vocalist

Silent

Alto

Continuo

Lucia di Lammermoor is considered Gaetano Donizetti's masterpiece. This week, the Teatro Colón presents the version staged in July 1972 with the stage direction of Tito Capobianco and a cast made up of figures such as Beverly Sills and Alfredo Kraus. Lucia di Lammermoor is an opera that goes deep into the identity of Italian bel canto. So much so that, to this day, the world's opera houses have adopted it as an infallible attraction of their seasons. For his composer, Gaetano Donizetti, this tragic drama came to put a stamp of excellence on the peak of his career in 1835.

Lucia has one of the most emblematic and impressive moments of the opera: the famous "scene of madness". This scene represents an enormous vocal and dramatic challenge for the most exquisite performers, and brings -at the same time- the opportunity to leave an indelible memory etched in the memory of the public. This time we enjoy the version that went up on stage at the Teatro Colón in 1972, with a new staging directed by Tito Capobianco. The main roles are played by none other than Beverly Sills as Lucia and Alfredo Kraus as Sir Edgardo de Ravenswood. We had the pleasure of hearing Kraus debut in previous editions of this archive, precisely with another title by the Bergamo master.

The role of Lucia is the one that brought Sills for the third time in his career to the Teatro Colón. In '68 she made her debut on this stage with her memorable Cleopatra ( Giulio Cesare by Handel), and then she returned in '70 to star in Manon (by Jules Massenet). Argentine critic Jorge D'Urbano wrote of Sills' performance as Lucia: “She is a capable, brilliant, effective soprano. She has a very seductive medium register. Her treble is somewhat stiff. She has excellent command of breath and her 'sharp edges' are capable of moving a stone. [...] In addition, fortunately she has a dramatic instinct, and she is an artist who tries and manages to convey the emotional conflicts of her character through sound and gesture”. His running mate was the relentless Alfredo Kraus, who deserved the most resounding praise from the critic: “Alfredo Kraus' vocal articulation is one of the prodigies of contemporary poetry. There is not a single word that gets lost or confused, no matter if he sings it low, middle, high, fast or slow. I confess that I clap my hands for any singer who reaches this difficult metal less and less achieved”. The original staging of 1972 directed by Tito Capobianco featured scenery by Ming-Cho-Lee and costumes by José Varona. The records of the time reveal a traditional classical vision of this opera, with a particular opulence in clothing. Ming-Cho-Lee is one of the key set designers for the 20th century scene in the United States. He is considered one of the great references of contemporary scenography, with bold proposals loaded with strong symbolism. But in this staging, the colonero public was able to see a much more traditional work by Ming-Cho-Lee, with a Lucia located in the time and space proposed by the original script. This point of view is replicated in the Varona figurines.

In the outline of the sketches preserved in the Documentation Center of the Teatro Colón , the meticulous technique of the artist can be glimpsed. It is interesting to note that this was not the only collaboration between Capobianco, Ming-Cho-Lee and Varona. The three artists were responsible for the original staging of (no less than) Alberto Ginastera's opera Bomarzo at the Lisner Auditorium in Washington DC (1967). In 1970 the three worked again in an opera by the same composer, Don Rodrigo at the New York City Opera. This theater had Capobianco as a collaborator since 1965. There he worked with Beverly Sills, and later (in San Diego, '79) together they staged the premiere of La Loca by Gian Carlo Menotti, composed specifically for the soprano and based on the Life of Juana I of Castile. As is clear from these brief references, collaborations between artists are not fortuitous events, but are the result of a network created through their professional histories. This recording by Lucia di Lammermoor , together with the graphic documents that accompany it, are not only the testimony of Donizetti's musical capacity, but also of the collective work of an artistic body that knew how to offer staging of enormous quality to the world of lyric music.

English

Lucia di Lammermoor está considerada la obra maestra de Gaetano Donizetti. Esta semana, el Teatro Colón presenta la versión escenificada en julio de 1972 con la dirección de escena de Tito Capobianco y un elenco integrado por figuras como Beverly Sills y Alfredo Kraus.
Lucia di Lammermoor (1972)



Lucia di Lammermoor es una ópera que cala profundo en la identidad del bel canto italiano. Tanto es así que, hasta el día de hoy, las casas de ópera del mundo la adoptaron como un atractivo infalible de sus temporadas. Para su compositor, Gaetano Donizetti, este drama trágico vino a poner un sello de excelencia en la cumbre de su carrera en 1835.

Lucia cuenta con uno de los momentos más emblemáticos e impresionantes de la ópera: la famosa “escena de la locura”. Esta escena representa un enorme desafío vocal y dramático para las intérpretes más exquisitas, y trae -a la vez- aparejada la oportunidad de dejar grabado un recuerdo indeleble en la memoria del público.
Lucia di Lammermoor (1972)



En esta oportunidad disfrutamos de la versión que subió al escenario del Teatro Colón en 1972, con una nueva puesta dirigida por Tito Capobianco. Los roles principales son interpretados por, nada menos que, Beverly Sills como Lucia y Alfredo Kraus como Sir Edgardo de Ravenswood. Tuvimos el placer de escuchar el debut de Kraus en ediciones anteriores de este archivo, precisamente con otro título del maestro de Bérgamo.

El rol de Lucia es el que trajo a Sills por tercera vez en su carrera al Teatro Colón. En el 68’ debutó en este escenario con su memorable Cleopatra (Giulio Cesare de Handel), y luego regresó en el 70’ para protagonizar Manon (de Jules Massenet).
Lucia di Lammermoor (1972)



El crítico argentino Jorge D’Urbano escribió sobre la interpretación de Sills como Lucia: “Es una soprano capaz, brillante, efectiva. Posee un registro medio muy seductor. Sus agudos son algo rígidos. Tiene un excelente dominio de la respiración y sus ‘filados’ son capaces de conmover a una piedra. [...] Además, por su fortuna tiene instinto dramático, y es un artista que intenta y consigue transmitir los conflictos anímicos de su personaje a través del sonido y del gesto”.
Lucia di Lammermoor (1972)


Su compañero de fórmula fue el implacable Alfredo Kraus, que por parte del crítico mereció las más rotundas alabanzas: “La articulación vocal de Alfredo Kraus es uno de los prodigios de la lírica contemporánea. No hay una sola palabra que se pierda o confunda, no importa si la canta en el grave, en el centro, en el agudo, con rapidez o lentamente. Confieso que bato palmas por cualquier cantante que alcance está difícil metal cada vez menos lograda”.



La puesta original de 1972 dirigida por Tito Capobianco contó con escenografía de Ming-Cho-Lee y vestuario de José Varona. Los registros de la época dejan entrever una visión clásica tradicional de esta ópera, con una particular opulencia en la vestimenta.
Lucia di Lammermoor (1972)


Ming-Cho-Lee es uno de los escenógrafos clave para la escena del siglo XX en Estados Unidos. Se lo considera como uno de los grandes referentes de la escenografía contemporánea, con propuestas audaces cargadas de un fuerte simbolismo. Pero en esta puesta el público colonero pudo ver un trabajo mucho más tradicional de Ming-Cho-Lee, con una Lucia ubicada en el tiempo y espacio propuesto por el libreto original. Este punto de vista se replica en los figurines de Varona.


Es interesante advertir que esta no fue la única colaboración entre Capobianco, Ming-Cho-Lee y Varona. Los tres artistas fueron responsables de la puesta original de (nada menos que) la ópera Bomarzo de Alberto Ginastera en el Lisner Auditorium de Washington D.C. (1967).
Mirá el diseño de vestuario de José Varona
para Lucia di Lammermoor 1972 ▾

En 1970 volvieron a trabajar los tres en una ópera del mismo compositor, Don Rodrigo en la New York City Opera. Este teatro tuvo como colaborador a Capobianco desde 1965. Allí trabajó con Beverly Sills, y más adelante (en San Diego, año ‘79) juntos llevaron adelante el estreno de La Loca de Gian Carlo Menotti, compuesta específicamente para la soprano y basada en la vida de Juana I de Castilla.
Lucia di Lammermoor (1972)



Como queda claro en estas breves referencias, las colaboraciones entre los y las artistas no se dan por hechos fortuitos, sino que son fruto de una red creada a través de sus historias profesionales. Esta grabación de Lucia di Lammermoor, junto a los documentos gráficos que la acompañan, no sólo son el testimonio de la capacidad musical de Donizetti, sino también del trabajo colectivo de un cuerpo artístico que supo ofrecer puestas de enorme calidad al mundo de la lírica.

español

Lucia of Lammermoor by Donizetti, 에서 (1972/1972), 감독 Tito Capobianco,, Teatro Colón, Buenos Aires, Argentina

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