Lucia’s ‘Mad Scene’ is the opera’s most famous moment – but it is Donizetti’s recollection of previous motifs, such as Lucia’s Act I aria ‘Regnava nel silenzio’ and her duet with Edgardo ‘Verranno a te sull’aure’ that poignantly make manifest her distracted mind. Here it has remained, despite a practice in the 19th and 20th centuries to make cuts that obscured Donizetti’s deft handling of his ensemble cast, with a consequent impact on the opera’s brilliant dramatic pacing. Within a few years of its premiere in Naples on 26 September 1835 Lucia had entered the international repertory. Cammarano’s adaptation of Scott’s novel The Bride of Lammermoor moved Donizetti greatly, and in the subsequent score he produced not only some of his most beautiful but also his most dramatically potent music. The opera marked the beginning of his partnership with regular collaborator librettist Salvadore Cammarano – who, as was the fashion of the day, looked to Walter Scott. Find out more at Lucia di Lammermoor is Donizetti's tragic masterpiece. Director Katie Mitchell and designer Vicki Mortimer speak about their new Royal Opera production of Lucia di Lammermoor.
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