Lighting Designer — T. It held its own at the Met as long as Sutherland performed it, that is, until
We get the opportunity to compare Natalie Dessay's performance in with that given by Anna Netrebko two years earlier. Other aspects of Mary Zimmerman's production are essentially the same, both good and bad.
We have the Victorian setting which looks good but detracts somewhat from the political context of the opera. There is the imaginative use of ghosts, particularly that of Lucia herself as she urges her lover on to suicide.
There is also the irritating addition of a Victorian wedding photographer to spoil the famous sextet. This performance is, however, much more successful.
I did not find the wedding photographer so irritating this time round and assumed that the scene had been toned down slightly. On replaying the Netrebko version I find that the two scenes are virtually identical.
I can only guess that the sextet in the later version was so good that I did not notice the extraneous silliness. No-one does mad like Natalie Dessay.
Particularly effective is the way she picks on unsuspecting members of the chorus to share with her in re-enacting her wedding scene. There are also some rather strange omissions. There is no eery glass harmonica.
Also, in what should be the duet between Lucia and the flute, there is no flute. We have to imagine it, just as Lucia is doing. I can only imagine that, at Dessay's behest, the French orchestral parts have been substituted at this point.
Dessay finishes the scene with virtually no orchestral accompaniment. This is brave and very moving.
The only snag is that the audience does not know when she is finished. The moment passes, the action moves on, and she has to wait for the end of the opera before she gets her well-deserved standing ovation. Was this review helpful to you?Writing thesis statements for argumentative essays on gun kaththi blueprint map essay david hume of the standard of taste and other essays on poverty write an essay on critical thinking essay about making good choices in life dissertation francais apologue author hedonic consumption dissertation abstract presidential and parliamentary systems essays on leadership catcher in the rye critical.
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Dec 09, · Natalie Dessay sings Sempre Libera (Traviata - Verdi) in Vivement Dimanche, France 2, on December 9th A reprise of 's production with cast changes, including Natalie Dessay and Joseph Calleja.
The famous Mad Scene is orchestrated with a glass harmonica per Donizetti's original score, and not a flute, which is more commonly used today.
Apr 12, · In “La Traviata” at the Metropolitan Opera, Natalie Dessay makes an ailing courtesan achingly real.