(Photo © Zurich Opera House. All rights reserved.)

“She let herself go to the rocking of the melodies and felt herself vibrating with all her being as if the bows of the violins had been walking on her nerves.”

-“Madame Bovary,” part II, Chapter XV

As Emma Bovary is overwhelmed by “Lucia di Lammermoor,” so too was the audience at Zurich Opera House. Donizetti’s classic was led by Italian conductor Leonardo Sini, while Tatjana Gürbaca’s staging added a clear approach to the tragic tale.

I found the performance particularly approachable, especially for those unfamiliar with opera

An Uneven Trio

In the leading role was Nina Minasyan. Although she seemed vocally a little bit unprepared during the opera’s first arias, she recovered rapidly to handle high notes with precision and delivered an memorable performance for one of the most demanding roles in bel canto. Proof of it was the famous *mad scene* (“Il dolce suono”) that was a testament to her skill, with precise coloratura – she handled the technically demanding role with control. Minasyan gave a strong vocal performance, and her natural acting made her portrayal of Lucia feel convincing. She displayed moving facial expressions and body language, enhancing her portrayal of Lucia: the murder scene of her husband was especially well-executed and gruesome with Nina doing short joyful spins fully covered in blood. This scenery was undoubtedly one of the most powerful moments of the evening.

Boris Pinkhasovich’s portrayal of Enrico was the most consistent performance of the evening. His rich baritone voice perfectly captured Enrico’s domineering presence, and his interactions with Lucia were filled with dramatic tension and always with very clear phrasing. Boris Pinkhasovich had a strong stage presence, effectively revealing the inner conflict beneath Enrico’s harsh exterior. Boris Pinkhasovich’s debut at the Zurich Opera House was an undeniable success.

The evening marked also Piotr Buszewski’s debut at the Zurich Opera House. His performance, however, lacked the dramatic intensity to match Minasyan’s and Pinkhasovich’s performance. His technical execution was adequate, but he did not quite reach the stage presence of Lucia and her brother, making Edgardo’s role feel somewhat overshadowed by the stronger portrayals of Lucia and Enrico. Nevertheless, he delivered in the final act an authentic farewell in “Tu che a Dio spiegasti l’ali.” This aria, a key moment in bel canto history, blends vocal technics with deep emotion, marking a shift towards the more dramatic, expressive style that influenced later Italian opera.

As the characters navigated their personal conflicts, the chorus subtly shifted roles, acting as a binding force during the performance.

The Other Character of Donizetti’s Drama

The Zurich Opera Chorus was another lead character of the evening. In scenes such as the Act two wedding, their contributions were essential in building tension. Donizetti’s use of the chorus in “Lucia di Lammermoor” serves as a precursor to Verdi’s Opera, and the connection between both composers could really be felt.

The chorus on stage, taking an active role in the scene.

In fact, the chorus in “Lucia di Lammermoor” plays a dual role, reflecting both societal pressure and empathy. On one hand, they act as an oppressive force, embodying the society’s expectations that push Lucia towards her tragic fate, particularly during scenes like the forced marriage with Lord Arturo. Here, the chorus represents the weight of tradition and family honor, siding with Enrico Ashton in forcing Lucia to conform to his plans.

However, after Lucia’s descent into madness, the chorus shifts tone: it expresses empathy and even sorrow for her. Thus, the chorus becomes the witness to the human cost of the own pressures it exerted. This change is particularly evident in the scene following the murder, where they cry Lucia’s fate, highlighting the chorus’s ability to show society’s mixed reactions—both judgmental and compassionate.

“Charles admitted, moreover, not understanding the story, – because of the music, – which greatly detracted from the words.”

-“Madame Bovary”

In stark contrast to Charles Bovary’s confusion in “Madame Bovary” during the “Lucia di Lammermoor “representation, the performance under the sensitive direction of Leonardo Sini in the Philharmonia Zürich allowed the music to shine while giving actors the space to deliver a clear vocal execution: a music neither too loud nor too soft, but well balanced. Sini skillfully led the orchestra to support the singers, working smoothly together in a balanced manner. One of the evening’s high points was the duet between Minasyan and the solo flute during the mad scene. This delicate exchange between voice and the transverse flute showcased the essence of the bel canto tradition: the interaction between singer and the flute becomes a dialogue as the flute plays in a high register that echoes the decent to madness. The flute soloist, Maurice Heugen, deserves special mention for their expressive, sharp and piercing playing, contributing to elevating the intensity of the scene. At the same time, the staging cleverly used a clock moving erratically, speeding up and then suddenly reversing thus symbolizing the disintegration of both time and reality, as time itself seems to go mad, reflecting Lucia’s mental state.

Simple but Effective 

Tatjana Gürbaca’s staging was notable for its simplicity. The rotating stage allowed the scenes to transition smoothly without overwhelming the narrative with unnecessary complexity. This choice kept the focus on Walter Scott’s story, ensuring clarity, particularly for first-time opera viewers. 

An interesting choice in the staging was the representation of paradise, depicted in a small corner on the left side of the stage. Lucia, her brother Enrico, and her lover Edgardo came reincarnated as children after their tragic deaths, coming one after the other, to eat a wedding cake – the cake that Lucia and Edgardo never had the chance to share. The scene somewhat mirrored the medieval theory of the glorified body: in heaven, souls are reborn in a radiant, innocent state, bathed in divine light. In this staging, the glowing light surrounding the figures reinforced the idea of spiritual purity.

The costumes in “Lucia di Lammermoor,” designed by Silke Willrett, also deserve a special mention: they evoked the Scottish roots of Sir Walter Scott’s novel “The Bride of Lammermoor,” with some characters dressed in kilts that immediately transport the audience to Scotland.  Finally, I thought the most powerful visual element was Lucia’s bloodstained dress: after the murder, the striking image of Lucia in her white dress, now soaked in blood, was visually very impactful.

Characters in kilts, holding a baseball bat, referencing the Scottish setting with modern elements.

“She wanted to run into his arms, to take refuge in his strength, as if he was the very embodiment of love itself, and to say to him, to cry out: ‘Take me away, carry me off, let’s leave! To you, to you! All my passions and all my dreams,” thought Emma Bovary in front of Lucia’s lover, Edgardo di Ravenswood. But aren’t we all as captivated as Flaubert’s heroine when an Opera production is that persuasive? This Zurich production was a success, particularly suited for audiences experiencing the opera for the first time. The staging was clear and effective, helping to enhance the understanding of the narrative without complicating it. The audience really appreciated the performance, as evidenced by the enthusiastic applause that followed.