by Steven Pisano
Cory Weaver/Metropolitan Opera
The Metropolitan Opera’s current production of Gaetano Donizetti’s Lucia di Lammermoor doesn't really show up on stage until the third and final act, but when it does, scoot up to the front of your seat and listen closely, because there are some scintillating vocal fireworks about to come your way.
The plot is simple, if not very interesting. Lucia Ashton is tricked (via a forged letter) into thinking her true love Edgardo has found another woman, and then is forced by her brother Enrico to marry Arturo, a wealthy man she does not love, as a means to preserve her family’s fortunes. But hold on: she then psychotically flips out and murders the poor sap Arturo, on their wedding day. So maybe this will prove interesting after all....
One problem early on is that while the staging by Daniel Ostling is majestic, and poetically lit by T.J. Gerckens, it is way too outsized for the simple human interactions of the story. After all, even the grandest love stories are between just two people--but here the characters seemed crushed by their larger-than-life setting.