Perhaps the Met will release a DVD of her performances from last March seen in HD in movie theatersbut there her voice was in even more parlous condition. Within a narrow dynamic range, Dessay can still be impressive, her tone well-supported, her phrasing clear and specific.
However whenever she puts pressure on her voice, an unpleasant vibrato, almost a wobble, intrudes diminishing her intentions. This performance is, however, much more successful.
On replaying the Netrebko version I find that the two scenes are virtually identical. Particularly effective is the way she picks on unsuspecting members of the chorus to share with her in re-enacting her wedding scene.
There is no eery glass harmonica. I did not find the wedding photographer so irritating this time round and assumed that the scene had been toned down slightly.
She sounds like she is walking on vocal eggshells, wanting to make bold choices, but unable to because of her fragile vocal estate. On two occasions they express their great joy: Furthermore, the highest notes are achieved with desperate lunges and are not at all pretty or exciting.
That one finds her in far better voice with a superior supporting cast. The bleak, grey-and-blue landscape with which the opera opens, with bare trees silhouetted against the backdrop and a detailed rocky terrain, creates plenty of atmosphere, and T.
Musically and dramatically the Chorus has no less spark than the main characters. We have to imagine it, just as Lucia is doing. The only snag is that the audience does not know when she is finished.
By the end, we are so drawn into the character that there is a bizarre and chilling sense of normality about her madness and that incident with Arturo, her bridegroom. His is not only a pleasant sound, but one which, coupled with a fine stage presence, invites the viewer to sympathise with his plight.
There is also the irritating addition of a Victorian wedding photographer to spoil the famous sextet. Some opera lovers insist one has to see her on stage to understand why people love her so much.Natalie Dessay singing in my favourite opera, Le Nozze di Figaro.
I can die in peace. Donizetti: Lucia di Lammermoor () 4 videos Play all Play now; Lucia di Lammermoor Met - Playlist.
1 video Play all Play now; Lucie de. Oct 22, · This is the first time that the Met has repeated a production in its fascinating series of high definition operas.
We get the opportunity to compare Natalie Dessay's performance in with that given by Anna Netrebko two years earlier/10(15). Gergiev's Lucia di Lammermoor may be the Mariinsky's first in two decades, but it's not a patch on the classics, writes Tim Ashely Donizetti: Lucia di Lammermoor – review Natalie Dessay.
Lucia di Lammermoor, with French soprano Natalie Dessay in one of her greatest roles as Donizetti’s fragile heroine, will air on Great Performances at. Read our review of Mary Zimmerman's production of Donizetti's Lucia di Lammermoor in its broadcast from the Met Opera in New York.
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