THE VIRGINIAN-PILOT
Copyright (c) 1996, Landmark Communications, Inc.
DATE: Sunday, October 6, 1996 TAG: 9610070192
SECTION: LOCAL PAGE: B3 EDITION: FINAL
TYPE: Music review
SOURCE: BY PAUL SAYEGH, SPECIAL TO THE VIRGINIAN-PILOT
DATELINE: NORFOLK LENGTH: 77 lines
Music Director Peter Mark conducted a strong performance Friday as the Virginia Opera opened its season with a new production of Donizetti's ``Lucia di Lammermoor'' at Norfolk's Harrison Opera House.
The performance was highlighted by Korean soprano Sujung Kim in the title role.
Supporting Kim was a more vocally consistent cast than has recently been present in the company's productions.
Things did not start promisingly. The first act was marred by some intrusive and silly stage business that added nothing to the opera.
Shirtless retainers suggested that Scotland was suffering a heat wave, yet the rest of the cast appeared dressed for chillier weather. A noisy scene change drowned out some of the lovely harp interlude, well-played by Barbara Chapman. Worst of all, Lucia's scheming brother, Enrico, was portrayed by baritone Richard Lewis as a spoiled brat throwing a tantrum.
Apart from an occasional raw note, Lewis was in fine vocal form. In the latter parts of the opera, beginning with his duet with Kim, he captured the heartlessness and violence of Enrico in chilling fashion, making Lucia's madness more plausible.
Tenor Philip Webb made his first appearance with the company in a leading role as Edgardo, Lucia's lover. Tenors seem to have been the company's Achilles heel lately, but not Friday night.
Webb showed off a large and secure voice that was well-suited to his character's heroics. Climaxes did not seem to faze Webb, whose bright tone easily penetrated the orchestra. However, there were inconsistencies in his vocal production, particularly in the lower range, that allowed some phrases to sound rough and insecure.
At the production's center was soprano Kim. Her Lucia displayed the lovely, easily produced, even soprano that was so impressive in last year's ``Rigoletto.'' Kim's ability to hold the stage through the combination of her singing and acting were especially felt in the long Mad Scene. Holding a knife, she wandered aimlessly about the stage, drawing the audience into Lucia's deranged mind before collapsing.
The many decorative turns and embellishments of the role were fluently sung. There was a bit of strain on the highest notes - more evident toward the end of the evening and suggesting that Kim has not yet completely come to terms with the role.
Kim wisely skipped the unwritten high note at the end of the Mad Scene's first section, saving herself for the climax.
Bass Andrew Funk was well-cast as the kindly chaplain Raimondo. In his debut with the company, Funk sang with a rich, warm voice. His scene with chorus at the beginning of the third act was a high point of the performance. Funk was a solid presence in what is often an overlooked role.
Peter Mark conducted with much energy, keeping the opera from dragging. In a few places, notably the end of the Lucia-Edgardo duet and the beginning of the Sextet, he set tempos that were a bit rushed, limiting the music's full impact. These were the exceptions, though, to a strong and well-played reading of Donizetti's opera.
The opera was staged by Albert Takazauckas. Once past the first act, his direction was traditional and unfussy, wisely allowing his cast to project their characters through their singing rather than through any superimposed theatrical concept. His use of the chorus in the Mad Scene was effective, as was Lucia's stunning entrance down a staircase in the same scene.
The use of the stage's height in the final act was the best aspect of Michael Yeargan's set design. Otherwise, his drab settings, though cleverly used, did little to enhance the opera, except as proof that Enrico's family had fallen on financial hard times.
A persistent mechanical or electrical hum added its own unscored voice to the opera, and really should be eliminated as soon as possible. ILLUSTRATION: Graphic
WANT TO GO?
Who: Virginia Opera
What: ``Lucia di Lammermoor'' by Donizetti
Where: Harrison Opera House, Norfolk
When: Today and Oct. 13 at 2:30 p.m., Wednesday at 7:30 p.m. and
Friday at 8 p.m. by CNB