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Lucia Di Lammermoor

4.5 out of 5 stars 51 customer reviews

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Product Details

  • Audio CD (March 12 2002)
  • SPARS Code: ADD
  • Number of Discs: 2
  • Label: Deutsche Grammophon - Universal Special Imports
  • ASIN: B000060P5O
  • Average Customer Review: 4.5 out of 5 stars 51 customer reviews
  • Amazon Bestsellers Rank: #43,050 in Music (See Top 100 in Music)
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Disc: 1
1. Part One: N.1 Preludio E Coro D'Introduzione: Percorrente Le Spiagge Vicine - Ambrosian Opera Chorus
2. Part One: N.2 Scena E Cavatina: Tu Sei Turbato! - E N'Ho Ben D'Onde - Piero Cappuccilli
3. Part One: No.2 Scena E Cavatina: Cruda, Funestsa Smania - Piero Cappuccilli
4. Part One: N.2 Scena E Cavatina: Il Tuo Dubbio E Ormai Certezza - Piero Cappuccilli
5. Part One: N.3 Scena E Cavatina: Ancor Non Giunse! - Beverly Sills
6. Part One: N.3 Scena E Cavatina: Regnava Nel Silenzio - Beverly Sills
7. Part One: N.4 Scena E Duetto - Finale I: Egli S'Avanza - Carlo Bergonzi
8. Part One: N.4 Scena E Duetto - Finale I: Sulla Tomba Che Rinserra - Carlo Bergonzi
9. Part Two: Act One, N.5. Scena: Lucia Fra Poco A Te Verra - Piero Cappuccilli
10. Part Two: Act One, N.6. Duetto: Appressati, Lucia - Piero Cappuccilli
See all 13 tracks on this disc
Disc: 2
1. Part Two: Act Two - Finale II, N.8. Coro E Cavatina: Per Te D'Immenso Giubilo/Per Poco Fra Le Tenebre - Ambrosian Opera Chorus
2. Part Two: Act Two - Finale II, No.9. Scena E Quartetto: Dov'E Lucia? - Qui Giungere Or La Vedrem.../Ecco Il Tuo Sposo - Piero Cappuccilli
3. Part Two: Act Two - Finale II. Sestetto Con Coro: Chi Mi Frena In Tal Momento?/Chi Raffrena Il Mio Furore? - Piero Cappuccilli
4. Part Two: Act Two - Finale II, No.10. Seguito E Stretta Del Finale II: T'Allontana, Sciagurato - Maledetto Sia I'Istante - Piero Cappuccilli
5. Part Two: Act Two, No.11. Uragano, Scena E Duetto: Orrida E Questa Notte - Piero Cappuccilli
6. Part Two: Act Two, No.11 Urgano, Scena E Duetto: Ashton! - Si/Qui Del Padre Ancor Respira - Piero Cappuccilli
7. Part Two: Act Two, No.12. Coro: D'Immenso Giubilo - Ambrosian Opera Chorus
8. Part Two: Act Two, No.13. Gran Scena Con Cori: Deh, Cessate Quel Contento - Justino Diaz
9. Part Two: Act Two, No.14. Scena Ed Aria: O Giusto Cielo! - Il Dolce Suono - Ambrosian Opera Chorus
10. Part Two: Act Two, No.14. Scena Ed Aria: Ardon Gli Incensi - Ambrosian Opera Chorus
See all 16 tracks on this disc

Product Description


This Lucia was recorded in 1970, when Beverly Sills was at the peak of her vocal and dramatic powers. She had been singing the role of Lucia on stage for six years, and she knew the character. Here is a manic-depressive who is slightly crazy from the start, and Sills's embellishments to the vocal line (and there are tons of them; hardly a line is left as written), mostly composed especially for her, are always at the service of the drama. She is a far cry from the chirpy Pons and Peters (and even Sutherland, whose just-plain-singing of the role is unmatchable, but who was never all that interested in building character) and comes closer to Callas, but without the great Greek soprano's huge palette of colors or, for that matter, vocal limitations. Sills is gloriously fluent in the coloratura, the high notes are impeccable, and her reading of the words is truly involved and involving. Carlo Bergonzi has everything as Edgardo, while Piero Cappuccilli's Enrico is snarling and cruel. Schippers leads a very tight, exciting, complete performance, and for the first (and only) time on CD, the glass harmonica Donizetti asked for is used in the Mad Scene. This is a must for lovers of great singing. --Robert Levine

Customer Reviews

Top Customer Reviews

Format: Audio CD
This is a recording of Beverly Sills singing Lucia. Need I say more? Her voice is exactly as I imagine Lucia's should be. Sutherland's is more beautiful, but we miss out on the character. Callas does a good job with Lucia, but her voice is too big for true Bel Canto, as well as she sings it. I prefer Sills' voice when she was a bit younger, but she is still fabulous here. She actually portrays the character of Lucia above merely singing the arias beautifully, which, by the way, she does. Her ornamentation seems to add to the work in some undiscernable sense, and we get plenty of high notes--she even ends Disc II by holding out a high "F"!!! At all times, she retains musical integrity. Bergonzi is an apt match, though he seems to have something of a lisp. This recording also sports the glass armonica found nowhere else on disc, which greatly contributes to the Mad Scene with its otherwordly sound, even though the player misses some of the notes. The sound could be better, and Arturo's voice isn't very good in comparison to the other singers, but that's just fine--it doesn't have to be. We don't want him to outshine Edgardo. If you like Sills, Lucia di Lammermoor, Donizetti, Bel Canto operas, or opera in general, get a copy of this.
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Format: Audio CD
Though I have heard positive comments about this recording, it wasn't until recently that I actually picked it up. I already had Callas and Sutherland recordings, which I thought to be absolutely wonderful. Callas, whenever she sings, never ceases to be thrilling- despite her Lucia being a bit more tame in terms of ornamentation and cadenzas. Sutherland is a human singing machine and executes everything with precision and beautiful sound.
In the spectrum of Lucias, though, I find Beverly Sill's characterization to be much more appropriate than the other two. Aside from her obviously lighter voice than the two, her Lucia was a much more fragile woman who just had some seriously loose screws. I never felt like she stepped outside her bounds character-wise. Then again, I find Lucia to be most similar to Ophelia: driven mad by circumstance and completely tormented. They shouldn'y ever come off as being scary or cold- just completely over-the-edge. Aside from that, Sill's singing of Lucia is fantastically exciting. Her ornamentation is sometimes a bit much; but with bel canto, you have to find a way to make each line yours and make sure that it still portrays what the composer wanted. Improvisation is expected. While her Regnava is not my favorite (I'm more than impressed by this new soprano Anna Netrebko), the Mad Scene is all and more than one could want from the character. Absolutely marvelous.
While Lucia is obviously the most important character in the show, I think it is important in rating this album (and comparing it to others) to consider the supporting cast. The main reason I purchased this album was for its Edgardo; and once again, Carlo Bergonzi is a joy to hear. He has such a wonderful color- as well as a solid technique in all ranges. The Act 1 duet with Sills is the highlight of the show for me (aside from the Mad Scene).
The rest of the cast is wonderful; so many magical moments in this recording...
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Format: Audio CD
This is a fabulous Lucia but what do the reviwers mean that Sills had the lower voice of Callas? did Sills have a contralto region in her voice? Callas went all the way down to a low contralto F sharp... Are you kidding us all here? did Sills have a contralto region in her voice? if anyone has a proof of that please email me and send me a sample of her contralto region... Thank you...
Also notice the official reviewer's remark: "... no line is sung as it is written..." I suppose that the Sills-club was so far above Donizzeti as to re-write the music that Donizzeti of course couldn't write properly... and all that for Sills to sing a more difficult Lucia than Callas and Ssutherland...Well I suppose then that Mado Robin is the best Lucia of the century since she has sung in her Lucia high Gs, As and even Bs ABOVE the famous Eflat transfomring Lucia into a CIRCUS!!!
If you only knew how much re-writing of their operas annoyed the Composers... Bellini had specifically requsted from Rubini never to sing anything that was not written in the score and that if he wanted a cadenza for show-off he should ask him towrite it and not write it by his own...
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Format: Audio CD
Arguably the best. Tune in to this recording and you'll see why. Beverly Sills in fine singing voice, the great Carlo Bergonzi is generally regarded as the finest interpretor of Edgardo and a superb cast, orchestra as well as tribute to Thomas Schippers a formidable conductor who tragically died of cancer in the late 70's. There have been many outstanding Lucia studio recordings dating back to the LP Era long before digitally remastering and cd recordings. Lucia is the most famous opera of the Donizetti repertoire. It is a great vehicle for the soprano singing Lucia and tenor singing Edgardo. Over the years, many remarkable singers have come across Lucia Di Lammermoor - Lily Pons, Maria Callas, Roberta Peters, Joan Sutherland, Edita Gruberova, Anna Moffo, Cheryl Studer and many others dating back to the early phonograph/victrola days of the early 1900s among them Adelina Patti, Dame Nellie Melba, Louisa Tetrazzini and Amelita Galli-Curci. It is almost a rite of passage. During its day, Donizetti's Lucia became so popular that Donizetti had to rewrite the opera in French to cater to the French opera lovers in Paris. Donizetti's music is a colorful array of emotions and melodrama perfomed in the typical romantic flair that the Romantic Era was so famous for, The tragic story is drawn from the Walter Scott novel supposedly inspired by actual events. A young woman, with a penchant for romance, falls in love with her family's enemy a la Romeo and Juliet. The Ashtons and the Ravenswoods have long feuded over property and social position in the bleak Gothic moors and misty woods of Scotland. Lucia, the quintessential tragic heroine, is forced to marry a man she does not love (Arturo) in accordance to her brother Enrico's wishes.Read more ›
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