Acte II, No.8-Scene & Sextour: J'ai Pour Moi Mon Droit - Evelino Pido
Acte II, No.9-Suite & Stretta Finale: Loin De Nous, J'ordonne - Natalie Dessay
Acte II, No.9-Suite & Stretta Finale: Non, Du Serment Tu Trahis La Foi! Anatheme... - Evelino Pido
Track Listings (12) - Disc #2
Acte III, No.10-Entracte - Evelino Pido
Acte III, No.11-Recitatif & Duo: Oui Mon Seigneur, A La Petite Porte - Roberto Alagna
Acte III, No.11-Recitatif & Duo: Souviens-Toi Qu'en Ce Domaine - Roberto Alagna
Acte III, No.11-Recitatif & Duo: J'aurai Ton Sang - Roberto Alagna
Acte III, No.12-Choeur Sur Le Theatre: Elle A Quitte Ces Lieux - Evelino Pido
Acte III, No.13-Scene Avec Le Choeur: Malheur! Malheur! - Evelino Pido
Acte III, No.14-Scene & Air: Elle S'avance, Helas, Pauvre Victime - Natalie Dessay
Ah! C'est L'hymne Des Noces - Natalie Dessay
Acte III, No.14-Scene & Air: Ashton's S'avance - Natalie Dessay
Acte III, No.14-Scene & Air: Je Vais Quitter La Terre - Natalie Dessay
Acte III, No.15-Scene & Air: Tombes De Mes Aieux - Roberto Alagna
Acte III, No.15-Scene & Air: Ravenswood, A Ton Attente - Roberto Alagna
In the 1830s, Paris was a mecca for musicians, so it's no wonder that successful Italian opera composers wrote or adapted their works for its prestigious stages. Donizetti settled in Paris in 1838. That year, his Lucia di ... more »Lammermoor, which had triumphed in Naples in 1835, was produced as Lucie de Lammermoor, a French version that he himself supervised at a new, successful, private Paris venue, the Théatre de la Renaissance. In France, both Lucia and Lucie weren't presented until the end of the 19th century. Then the latter fell into disuse. This is the first studio recording of Lucie. It is tempting to explore the differences between the two versions. The original vocal lines, apart from some retouching for the prosody, are remarkably intact, though the Italian language seems to melt into the melodic contours more naturally. Many of the alterations affect the text more than the music. Characters are excised or changed: Normanno, an ambiguous opportunist, becomes Gilbert, a corrupt, amoral villain, ready to betray everyone for a price; Enrico becomes an unmitigated brute. Arthur's role is expanded, Lucia's maid Alisa's eliminated. Chaplain Raimondo's is shortened, at the cost of his moving duet with Lucia. Also omitted are Lucia's first aria and the storm scene with Edgardo's recitative, as well as the harp solo introducing Act II. To understand the political background and ancestral feud, one must still consult Sir Walter Scott's novel, The Bride of Lammermoor. The chorus and orchestra here are very good, with outstanding wind solos and ensembles. Among the singers, Tezier as Henri and Marc Laho, Nicolas Cavalier, and Yves Saelens in the smaller roles are excellent. Dessay sounds lovely and expressive in the lyrical parts, but a bit labored and shrill in the coloratura passages. Her vibrato is very wide, and she tends to swell long notes. Alagna has a beautiful voice with a fine, ringing top, and his French diction is exemplary, but he "emotes" with scoops, slides, and sobs, and his fermatas last forever. --Edith Eisler« less
In the 1830s, Paris was a mecca for musicians, so it's no wonder that successful Italian opera composers wrote or adapted their works for its prestigious stages. Donizetti settled in Paris in 1838. That year, his Lucia di Lammermoor, which had triumphed in Naples in 1835, was produced as Lucie de Lammermoor, a French version that he himself supervised at a new, successful, private Paris venue, the Théatre de la Renaissance. In France, both Lucia and Lucie weren't presented until the end of the 19th century. Then the latter fell into disuse. This is the first studio recording of Lucie. It is tempting to explore the differences between the two versions. The original vocal lines, apart from some retouching for the prosody, are remarkably intact, though the Italian language seems to melt into the melodic contours more naturally. Many of the alterations affect the text more than the music. Characters are excised or changed: Normanno, an ambiguous opportunist, becomes Gilbert, a corrupt, amoral villain, ready to betray everyone for a price; Enrico becomes an unmitigated brute. Arthur's role is expanded, Lucia's maid Alisa's eliminated. Chaplain Raimondo's is shortened, at the cost of his moving duet with Lucia. Also omitted are Lucia's first aria and the storm scene with Edgardo's recitative, as well as the harp solo introducing Act II. To understand the political background and ancestral feud, one must still consult Sir Walter Scott's novel, The Bride of Lammermoor. The chorus and orchestra here are very good, with outstanding wind solos and ensembles. Among the singers, Tezier as Henri and Marc Laho, Nicolas Cavalier, and Yves Saelens in the smaller roles are excellent. Dessay sounds lovely and expressive in the lyrical parts, but a bit labored and shrill in the coloratura passages. Her vibrato is very wide, and she tends to swell long notes. Alagna has a beautiful voice with a fine, ringing top, and his French diction is exemplary, but he "emotes" with scoops, slides, and sobs, and his fermatas last forever. --Edith Eisler
CD Reviews
"Lucie" isn't "Lucia", but still pretty interesting !
nicngu | 01/13/2003
(4 out of 5 stars)
"This is a French version, revised by Donizetti himself for the Parisian public, of his wonderful "Lucia di Lamermoor", and although it is true that the Italian original is better, it is with a lot of pleasure that I discovered this alternative. This is not a staightforward translation into French, and there are some major changes compared to the well-known "Lucia", like the absence of the character of Alisa. The most striking of these changes is probably the replacement of Lucia's entry aria "Regnava nel silenzio", by a perharps much less dramatic (no mention of the ghost here !) but still very beautiful alternative aria and cabaletta. This is, I believe, Dessay's first attempt into romantic belcanto, and she gives a stylish and moving interpretation. Of course, she is not a soprano dramatico d'agilita (and does not pretend to be one either), but a lot of "light" sopranos have sang the role in the past as well and Dessay's soprano legero is certainly one of the most interesting around today : not only hitting the high notes but also capable of depth and color. Moreover, the use of a soprano legero for this version is certainly be well justified : this French Lucie is a frail character, totally manipulated by the men around her, rather than the more dramatic Italian Lucia, doomed by madness from the start (cf. "Regnava nel silenzio"). There is also some superb singing from Alagna and Tézier. A very interesting addition to your CD collection, next to your favourite "Lucia" set."
Not the best "Lucia" recording, but interesting nonetheless
Larry D. Rodriguez | Houston, TX | 01/14/2004
(4 out of 5 stars)
"I don't care a fig which came first, the French or the Italian version of the greatest of Donizetti's operas. The question here is whether or not this recording merits a place in your collection. As the first recording of the French version, it has enough appeal to most admirers of Donizetti's operas. I will agree that the absence of "regnava nel silenzio" is regrettable, since the substitution aria is far less distinctive (although Dessay sings it beautifully). I also hate that Alisa is missing from the French version, for two reasons. First, it eliminates part of the appeal of Lucia's first aria- Alisa's singing in the opening aria in Italian adds dramatic weight. Also, it leave Lucia by herself to fend off the male characters.As far as the recording itself, I think that Dessay is let down by her tenor, Roberto Alagna. Just listen to sulla tomba, the famous Lucia/Edgardo duet (which is the same in French). It is clear that he doesn't measure up, by no means, to Pavarotti. True, Natalie Dessay isn't exactly Joan Sutherland, but she has her own appeal. Her voice is like a pearl- shimmering, luminous, and iridescent. Unlike most opera singers these days, she has a genuinely unique voice, not a cookie-cutter one like so many others. In fact, she's one of the very few that I feel compelled to listen to on record. I do think that her Lucia is not as ravishing as her Lakme, recorded some four or five years earlier. Dessay was rumored to have gone through a minor vocal crisis, which might explain why she isn't absolutely perfect on this recording. All in all, however, she does a good job here.Alagna, on the other hand, is simply irritating. It would have been so much better if they had chosen Marcelo Alvarez for this recording. But, he isn't French, so go figure.By no means should this be anyone's introduction to Lucia. That should be either Sutherland's second recording, with Pavarotti, or any of Callas's, depending on your tastes. But, this Lucie is a worthwhile addition to your collection."
French Version: 1839; Original Italian Version: 1835
Robert E. Paris | Louisville, KENTUCKY United States | 02/16/2003
(5 out of 5 stars)
"I enjoyed the new French-version of "Lucie de Lammermoor" and agree with Jeff of Frederick, MD that it should receive 5 stars. However, when he states that this version is the original, I felt compelled to write, since someone new to "Lucia" might take him at his word. Lucia had it's premiere in Naples, at the San Carlo Theater, on Sept. 26, 1835, in Italian. In the libretto that accompanies this recording, on p.19, under the title "From Lucia to Lucie", it's history of performance is explained in great detail, mentioning where it was performed outside of Italy and in what other languages it was performed in. In the middle of the paragraph, it states: "...into Czech and French in 1839, then into Slovenian...." But I feel that in the last paragragh there lies the confusion. "In Paris, where the work in its original version had been put on at the Théâtre des Italiens (where operas are performed in Italian)in December, 1837, a French version was first performed on 6 August 1839 at the Théâtre de la Renaissance:That is the version used in the present recording." The mixing of "Paris" and "original version" might have misled someone to the conclusion: French,but as the history books tell us, this just isn't so."
Always Better In Italian...But Still Enjoyable
Larry D. Rodriguez | 08/03/2003
(3 out of 5 stars)
"Donizetti was the undisputed bel canto master in Italy. Whatever possessed him to compose an already famous Italian opera Lucica Di Lammermoor into a French version for the Paris Opera ? The answer is simple. French opera was popular, equal in success as Italian Opera. Frequently, singers who sang bel canto operas in such prestigious opera houses as the Teatro La Fenice in Venice, La Scala and San Carlo of Naples would travel and present their operas in Paris (there was a Theater Italiens where Italian operas were produced for a French audience who either read the libretto and perhaps were familiar with Italian as a foreign language). The French were a warm welcome to artists of every sorts, since Paris has long held the trophy for being the most cultural place in the world. So to have a French audience enjoy an Italin opera was a great ego boost as well as smart career move for a bel canto composer such as our forementioned Donizetti. Even Wagner was known to have wanted to reach French fans for his operas but proved unsuccessful with his Tannhauser which was a failure in Paris due mostly because Wagner put on the traditional ballet sequence of a grand operas in the first act instead of the third much to the dismay of the Jockey Club patrons. Donizetti's "Lucie De Lammermoor" produced in Paris was also subject to change in the involvement of a ballet sequence (perhaps during the Wedding Feast scene). We know Donizetti must have spoken French being a cultural and intellectual man himself and his opera completely changed in the process of French influence.Lucia is now Lucie, a melancholic beauty who sighs and yearns for her Edgarde who is off in France in war time. Lucie's scheming brother Enrique (formerly Enrico) is still the villainous, ambitious and vengeful character he was in the original bel canto version only this time Normanno is also in on the scheme. Lucie and Edgarde's situation is much like that of Romeo and Juliet in case no one has yet made that connection. They come from opposing families that have feuded over the course of many years, seem never to be together throughout the opera except for the extended sequence of their duet in the gardens. In French, the bel canto so expressive, so dramatic and so poignant is not as effective in storytelling a great dramatic work as this. The French language is beautiful, as lovely as Italian, but Lucie is best enjoyed in its original Italian. Gone is the haunting mood of Lucie's aria Regnava Nel Silenzio (it does not even appear in this version) nor the coloratura magic of Quando Riposi en Estasi), both arias being very signficant in expressing the mental and emotional instability of Lucia's character. In this aria she tells her maid Alisa (who also does not appear in this version) of a ghost she saw by a fountain that spurted blood and served as an ill omen that would foreshadow Lucia and Edgardo's doomed romance). The rich voice of Natalie Dessay, in particular her lyricism and coloratura in the Mad Scene is still beautiful, but again not as effectively dramatic in French. The Mad Scene is Donizetti's most celebrated operatic moment (as Shakesperean as Ophelia's Mad Scene) and it's certain Donizetti wanted to show off this scene to the French and to attract more Parisians to hear other of his operas. Since most of his operas were in Italian (with the exception of the other operas he composed for the highly acclaimed Paris Opera La Favorite and La Fille Du Regiment both being comedies, perhaps this was a way to get Italian-speaking French people to see his operas regularily performed in Naples."
A lucia as Madame Bovary saw it
Mike Shanahan | Kailua, Oahu, Hawaii USA | 12/21/2008
(5 out of 5 stars)
"When I was in grad school in literature in Seattle in the 1990s, I bought the 6th edition of the 'Norton Anthology of World Masterpieces V. II,' which included all of Flaubert's 'Madame Bovary.' I figured the editor was an opera fan, since the intro to MB went into a detailed description of how the French version of 'Lucia di Lammermoor,' which Bovary sees in the novel, was different from the Italian version that we all know. Hopped on on a newfound love of Flaubert, I was dumbfounded that no one had ever recorded this French version for mass distribution.
Then, finally, this recording came along.
I love this version, despite a weaker opening aria for Lucia and a dwindling down of the female voices to Lucia alone. Dessay and Alagna sing beautfully, and of course their French diction is spot-on. The mad scene and final graveyard scene are dyno-mite. Once again the opera world owes a thank-you to the Opera de Lyon. As with Verdi's 'Don Carlos,' Lucia lives as vibrantly in its French as in its Italian dress.
Track Listings (19) - Disc #1