Theatre Review: Lucia di Lammermoor

This is a revival of a production which is to say, the original production was long ago and featured Joan Sutherland as Lucia. The set and costumes are close to exactly as they were in the original Australian production – in fact it’s the same set.

The style of opera is Bel Canto, sung without amplification, and requires exacting control from everyone, including the Adelaide Symphony Orchestra, the State Opera Chorus and, of course, the lead singers.

Directed originally by John Copley, and now in its revival by Laura Hansford, this production is fantastic. In a gloomy Scottish castle, which is magnificently realised on the stage designed by Henry Bardon, a pair of siblings, brother Enrico Ashton (Morgan Pearse) is planning to strengthen the family’s noble status in their feudal society, and sister Lucia Ashton (Emma Pearson) is in a bit of a funk since their mother died. Recently though, Lucia has met and become interested in Edgardo Ravenswood (Alok Kumar) a handsome stranger, who also happens to be from a rival family.

This story is based on actual events, first written into a novel by Sir Walter Scott (Rob Roy, Ivanhoe), and then adapted by Cammarano into this opera. At a glance, the plot is similar to Shakespeare’s Romeo and Juliet, with the main difference being the lovers are not teenagers, so they should know their secret love is not going to end well, despite some very optimistic musings about settling the two family’s differences from Edgardo, who proposes to Lucia and they secretly exchange rings and vows.

Actors Alok Kumar as Edgardo and Emma Pearson as Lucia in the State Opera's production, Lucia di Lammermoor. — Alok Kumar as Edgardo and Emma Pearson as Lucia.

Being based on fact, the tale is far more gruesome than Romeo and Juliet. In one iconic scene, Lucia descends a great staircase wearing her wedding dress and covered with blood, obviously in shock, searching for Edgardo.

I’ve never sat through a live version of this opera before; I was riveted by the experience. It isn’t often you get to hear unamplified voices on a big stage in a large venue and the effect is very emotionally arresting and really draws you in. That such a dark emotional journey can be supported by such pretty music is a real trick and treat for the audience. Because the common tropes are clear, and you know this is an ill-fated love, there are certain things you imagine are going to happen, but it doesn’t play out in a way you’d expect.

Being shocked and surprised by this style of production is ultimately a positive experience even though the story is tragic and does not end well. The skill of the singers is extraordinary; the combination of elements on stage that assist the lead singers to bring such heightened emotion has a mesmerising quality that can only be described as astonishing.

I applaud the whole ensemble but the spotlight of greatest accolade rests on Emma Pearson and Alok Kumar who carry us on their emotional journey with such skill and authenticity it is painfully good.