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Lucia di Lammermoor is a dramma tragico (tragic opera) in three acts by Gaetano Donizetti. . "Qui di sposa eterna Ah! Verranno a te sull'aure" (Edgardo, Lucia). Act 2 "Lucia, fra poco a te verrà" "Dov'è Lucia?" "Chi mi frena in tal momento" (sextet) "T'allontana sciagurato". Act 3 "Orrida è questa.
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Naxos Javascript not enabled. Work Title Lucia di Lammermoor Alt ernative. Operas ; Theatrical Works ; For voices, mixed chorus, orchestra ; Scores featuring the voice ; Scores featuring mixed chorus ; Scores featuring the orchestra ; For voices and chorus with orchestra ; Italian language ; For piano arr ; For 1 player ; Scores featuring the piano ; For violin, piano arr ; For 2 players ; Scores featuring the violin ; For piano 4 hands arr ; Scores featuring the piano 4 hands ; For 2 cellos arr ; Scores featuring the cello ; For flute, piano arr ; Scores featuring the flute ; For harp arr ; Scores featuring the harp.

Pieces based on 'Lucia di Lammermoor'. Contents 1 Performances 1. Aria: Fra poco a me ricovero 2. Pub lisher. Milan: G. Ricordi , n. Javascript is required for this feature.


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Language Italian. New York: E. Enrico and Arturo demand that Edgardo leave at once, or he will die; Edgardo draws his sword and says others will die with him. He pleads for peace. Raimondo tells him she belongs to another and shows him the marriage contract. When Edgardo asks Lucia if it is her signature on the document, she can barely admit that it is. Furious, he gives her back her ring and demands his own which he throws on the ground and tramples it. I curse the day I fell in love with you. Damnable family! A wonderful, musically exciting end to the first act of Parte Seconda.

Lucia di Lammermoor (Opera) Plot & Characters | StageAgent

We are, according to the score, in the same hall as in the previous scene. The background is filled with guests and residents of Lammermoor Castle. They are joined by Knights, who mingle with the crowd. The E major festivities are interrupted by the appearance of a shocked Raimondo, singing a D natural, which cancels that opening tonality.

Lucia di Lammermoor – The Musical Story

The harmonies of the next seven bars are very unsure of themselves, mostly because Raimondo is unsure of what to say. We might wonder why he was hanging around the bridal chamber! He rushed there to discover the bloody body of Arturo, with Lucia holding his sword. Strings in B major have a sixteenth-note accompaniment, though the violas add a kind of shudder on the second half of the second beat — disturbing! This takes us to E major for one of those great, unison choral tunes, where the chorus can express their horror at what has happened, and pray the heaven will not vent its fury on them.

She is mad. It was unique for its time in its depiction of madness, and early critics may have felt uncomfortable watching it. Lucia is a murderer!

Cammarano, astonishingly for , gave Donizetti a psychologically accurate picture of an insane person; he seized on it and wrote an extraordinary aria. Lucia is oblivious to them. She tells him she has escaped from his enemies and can now finally be his. Her body shudders and her feet seem to give way, but she has reached the fountain and they can sit there together.

Flute and clarinet play the first phrase of their earlier duet, but suddenly tremolo strings, with brass and wind punctuations the phantom from her first aria rises and tries to separate them. Just as quickly she finds refuge by an altar, which is strewn with roses arpeggios from the solo flute ; she hears heavenly music. To a new theme in the violins she understands it is their wedding hymn announcing that the ceremony is about to begin.

What inexpressible joy she feels! Though the flute does express it. The seven pages of vocal score thus far have been recitative. Raimondo, Normanno and the guests pray God to have pity on her in her terrible condition. As she loses herself in her happiness her vocal line becomes more elaborate with the flute joining her in duet, until she arrives at the cadenza-moment.

Musically, everything changes with the arrival of Enrico: the tempo quickens, and the orchestra becomes more martial. Lucia wonders who has spoken to her. Lucia, still with Edgardo, begs him not to look so angrily at her; yes, she signed the paper, but in his rage he stamped on her ring and cursed her! I was the victim of a cruel brother, but I always loved you, Edgardo. Do not leave me, Edgardo. More chorus prayers to God for pity. In the second portion of her aria she begs Edgardo to weep bitterly for her while she, in Heaven, will pray for him, and his eventual death will make heaven more beautiful for her.

Enrico expresses remorse for his actions: the remainder of his life will be filled with bitter tears, while Raimondo and the chorus openly weep. She faints and the curtain falls. Edgardo has come back to his ancestral home to meet Enrico for their arranged duel. The orchestral introduction is a solemn affair: A fanfare-like figure from the full orchestra is answered by the horns, and then by an outburst from the winds and brass, while the timpani sounds ominous.

Lucia di Lammermoor - Lucia di Lamme...

It is dawn. Edgardo enters in despair. Addressing his buried ancestors he tells them that he, the last of the Ravenswoods, will soon join them, for life without Lucia has become intolerable. He notices that the Castle is brightly lit and imagines Lucia joyfully celebrating her marriage to Arturo. In the first part of his aria he sings, in D major, of the peace he will find in his forgotten and un-wept-for tomb.

Synopsis: Enrico, the head of the Lammermoor family, learns that Enrico and Lucia meet frequently. He, however, wants Lucia to marry the mighty Arturo. Enrico swears that he will prevent the marriage between his sister Lucia and the hated Edgardo. Synopsis: Lucia meets regularly with Edgardo. In the evening at the fountain she tells her maid with a dark face that a ghost of a dead Ravenswood once appeared to her Regnava nel silenzio.

Lucia waits at the fountain for Edgardo and tells her maid that at this place the ghost of a murdered Ravenswood has appeared to her. Maria Callas has written stage history with the role of Lucia. Karajan and Callas travelled to Berlin and Vienna.

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Callas as Lucia caused a pandemonium in both opera houses. The way she changed this role see more details in the two Aria Portraits Regnava nel silenzio and. Listen to Maria Callas in a magnificent and haunting interpretation of this aria in this recording conducted by Tullio Serafin.

Listen to another beautiful Interpretation by Anna Netrebko. The third recording is by Joan Sutherland.