Donizetti - Lucia di Lammermoor / Joan Sutherland, Alfredo Kraus, Pablo Elvira, Paul Plishka, Richard Bonynge, Metropolitan Opera

When people think of Opera composers they usually think of Verdi or Wagner, Mozart or Strauss. I think of Donizetti for some peculiar reason. Possibly because he reminds me of a hard working blue-collar guy who heads out early in the morning, well before sun-up; then returns home late at night, dog-tired: heading straight for the neighborhood bar. I feel that I could have a glass of wine with Donizetti (it's a wine bar, of course. This is Opera, not Cheers). Try hoisting a few with Wagner. He'd get you drunk then pick your pocket! Donizetti, on the other hand, was what we here in Brooklyn would call "a mensch".Lucia di Lammermoor is one of the great tragic Operas. It lay dormant for many years because the coloratura soprano necessary to sing this demanding role simply wasn't available. By a happy accident, two coloraturas appeared at mid-century: Maria Callas and Joan Sutherland. The Bel Canto repertoire was revived.Sutherland made her reputation in the role of Lucia starting in 1959, and had been singing it ever since. If there is one role associated with her, it is this one. She made her historic debut as Lucia at the Met in November 1961 in an old production originally mounted for Lily Pons. A new production followed in 1964, created by Margherita Wallman. This was Sutherland's subsequent showcase in 1966, 1970 and finally, in a restaging by Bruce Donnell, in 1982. This DVD, taped on 13 November 1982 from a live broadcast on PBS, records that production.The picture is quite clean following digital remastering, but there are some artifacts due to the age of this tape. There's a slight fuzziness in the image, as well as ghosting during rapid movement and occasional color bleeding (for a moment, a large green blotch appears out of nowhere). These are all minor and don't subtract from enjoyment. The sound is clear and full in either LPCM stereo, Dolby Digital 5.1 or DTS 5.1 Digital Surround (my choice because it sounds best).As for the performances: this is definitely a vehicle for Dame Joan. Her husband, Conductor Richard Bonynge, has edited the performing edition, removing the stormy scene between Edgardo and Enrico as well as other passages surrounding the vocal highlights. To my ears, Sutherland's voice sounds tired. Age has pinched her high notes so that they sound raspy. She is pushing her voice rather than letting it flow naturally. But when she is "in the moment" the heft of her voice returns. The famous Sestetto is stunning. The size of her voice, it's old power and amazing range are all there to hear (albeit in slightly degraded form). I think she was husbanding her resources, waiting for her signature moments, a wise thing to do. The famous mad scene (with flute, not glass harmonica as in Beverly Sill's wonderful recording for Westminster) is similarly great. The ovation from the packed house continues for 5 minutes. Making allowances for age, her performance is terrific. Fans of Sutherland will want this DVD.The late tenor Alfredo Kraus is fine in the role of Edgardo, a part he sang well into his 60's. Baritone Pablo Elvira is a good Enrico. Bass Paul Plishka is a sonorous Raimondo. Conductor Richard Bonynge has the measure of this score, of course. I like his reading of this marvelous Opera. In fact, he is quite a Donizetti specialist. Some have criticized him for being somewhat pedestrian, but not here. The Met Orchestra is just plain wonderful, as usual. The production is beautiful to look at. A traditional staging, typical of the Met. I like that conservative approach, for what it's worth.Whatever imperfections exist in Sutherland's aging instrument are probably irrelevant. Fans will want this DVD because Sutherland at 75% is better than any other coloratura soprano singing today. It is a treat just to see her in this role. Coloraturas of her vocal greatness just don't happen that often. It may be a long time before we see her like again, sad to say. My strong recommendation seems beside the point. Get this DVD as long as you can accept the effects of time on a great soprano's voice. Then close your eyes, listen and dream of long ago when titans strode the Earth and some of us were privileged to witness it.Mike Birman

Perhaps this is not the definitive production of Lucia di Lammermoor, nor is it Sutherland's most sensational performance of the role. But it merits 5 stars simply because it is Sutherland in her signature part, an amazingly rare document considering the astonishing length of her career (she was 56 at the time of this performance), the number of times she performed Lucia, and her position as the foremost bel canto artist of the 20th century.There were many fine, even great interpreters of this role in the last century prior to Sutherland, despite the remarks of another reviewer. Among them were Tetrazzini, Galli-Curci, Melba and, or course, Pons. Contemporaries included Callas, Sills, Peters, Mesple and, for a very short while, Scotto. In spite of these singers many individual qualities, it is well known that the role belongs to Sutherland.Opinions are fine, but comparing Devia to Sutherland is quite a stretch, and is a representative example of the deterioriating knowledge about vocal artistry in today's opera going public, which week after week cheer pedestrian-to-outright bad performances on the stage of the Met (one reviewer would have shown greater sensitivity acknowledging the work of Gruberova over Devia). As to comments that Sutherland's voice seems strained at times, there is no question that it does not have some of the qualities it once did. But that would not be the point. The miracle is the way in which she manages this performance, a notoriously difficult one, and succeeds, to the reviewers' own observation, to rise to the occasion at exactly the right moments.For those who were not fortunate enough to hear Sutherland in a live performance, this recording, as with her others--studio or otherwise--will in no way inform the ear about the incomparable amplitude, virtuosity and sheer beauty of this remarkable instrument. And if one wants to hear what real strain and pinched, uneven singing sounds like, sample some of the work of successors June Anderson, Ruth Ann Swenson and others.I would also suggest Sutherland's 1986 performance of Lucia from Sydney, on DVD/VHS. Her voice is remarkably fresh, the instrument pliant, and her endurance, well, stupendous. Both studio recordings, made 20 years apart, are also exceptional, showing the amazing growth of an already unsurpassed voice. If you can find her performance of the Mad Scene from the 1984 Concert for Peace in Sydney, get it. As for pirates, they are out there. Of this group, I would recommend the 1970 Lucia from the Met with Domingo.

I have been watching this alternating with the Anna netrerbko version trying to decide which I like best. Honestly Anna was winning until the mad scene. Joan’s acting comes up a notch. She just breaks your heart running around imagining she can be with Edgardo. The coloratura work as she fallows the flute is breathe taking. I don’t see Anna beating it. Wow and she was in her 50’s

Or shall we say, a respectful warning. I admit on first viewing I had to turn it off after a minute or two into Joan Sutherland's entrance. It was just too late in her career. Visually and vocally, the performance was simply not to her distinguished credit.After a few days, after looking into the alternatives (i.e., earlier complete operas on videos), ... I thought I had better try again with a more open mind. After all, you must be aware, the pickins are mighty slim. And besides, the main reason I had purchased this DVD was to see and hear Pablo Elvira, who had done Trovatore in Phoenix, back in '82 when I was in the chorus there (oh memories). He has even less video out than Sutherland, if such a thing is possible. So it had to be a package deal, or nothing.Being forewarned and forearmed, it was not too bad. I will still cling to my Art of the Prima Donna (done in 1960, was it not?). I did end up enjoying La Stupenda in this late performance, and I have always enjoyed Alfredo Kraus (although this is late in his career as well). And I especially thrilled to Pablo Elvira, who needs no apologies whatsoever. I wish they ALL had recorded more.

Excellent

This was a Christmas present for my daughter. It is wonderful . She is very pleased with it. We watched it together & it is wonderful.

The first opera to put Joan on the map after many years in the chorus and lesser roles. She was electrifying on stage and this brings back very happy memories

The world's greatest ever (well since the recording of sound) singing one of her best roles... what's not to like?

Great!