Not many 19th-century Italian operas feature a chorus of
men pointing rifles at the audience in the first five minutes. But
Donizetti's enduring masterpiece Lucia di Lammermoor pulls
few punches, and it delivers plenty of melodrama, blood and betrayal in
its tragic tale of a Scottish woman in love with her brother's enemy.
Coloratura soprano Elizabeth Futral, who previously performed the role
at the Metropolitan Opera, is Lucia, and she sings circles round the
rest of the cast. That's not to say the others fail to deliver on the
rousing libretto, but the power of Futral's voice makes your eardrums
buzz. Peter Volpe has a nice turn as the chaplain Raimondo, a role that
showcases his rich bass voice, and conductor George Manahan makes great
use of Will Reno's timpani. The other bright spot in this Portland Opera
production is lighting designer Scott Zielinski's commanding use of
light and shadow, which helps salvage the otherwise puzzling production
design: The backdrops resemble two gigantic Ruffles potato chips,
rotated in each scene and eventually accompanied by a moon, portrayed by
an anemic neon doughnut. But any criticism is forgotten by the third
and final act, when Futral smears blood on a window with a zeal that
would impress Dario Argento and then delivers the famous "Mad Scene,"
her voice soaring and her expressive face recalling Sissy Spacek in Carrie. As Lucia loses all reason, we likewise surrender ourselves to her blood-soaked lunacy.
SEE IT: Lucia di Lammermoor is at the Keller Auditorium, 222 SW Clay St., 241-1802. 7:30 pm Thursday, Feb. 6, and Saturday, Feb. 8. $20-$160.
WWeek 2015