Lucia di Lammermoor
Ends May 21 3h 25m
Lucia di Lammermoor
85

Lucia di Lammermoor NYC Reviews and Tickets

85%
(5 Reviews)
Positive
80%
Mixed
20%
Negative
0%
Members say
Great singing, Great staging, Must see, Entertaining, Riveting

Soprano Nadine Sierra stars in a new staging by in-demand Australian director Simon Stone.

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Member Reviews (5)

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728 Reviews | 205 Followers
94
Intense, Riveting, Entertaining, Great staging, Great singing

See it if you like a good story beautifully sung (Sierra, Camarena & Rose excellent) with a powerful orchestra on an exciting set, enhanced w/video.

Don't see it if you do not like traditional operas updated or are afraid to spend 3 1/2 hours in a theater.

255 Reviews | 32 Followers
60
Edgy, Slow, Quirky, Great singing, Disappointing

See it if you are willing to close your eyes and just listen to glorious singing and music. The stage direction does not really make any sense

Don't see it if you expect theater and music from the opera.There is a total lack of purpose to the staging.The idea is never realized and it becomes boring

172 Reviews | 21 Followers
90
Riveting, Must see, Great staging, Great singing, Entertaining

See it if You are into beautiful music with a fantastic , talented cast. The setting is completely new and very different.

Don't see it if You are not into opera with beautiful music and great singing. Read more

45 Reviews | 4 Followers
92
Ambitious, Must see, Refreshing, Great staging, Great singing

See it if you love innovative theatrical production design. Creative team injected exciting newness, bold concepts. Excellent leads, especially Nadine

Don't see it if you are a traditionalist & don’t like gritty staging. Lucia is in a crop top in a decaying Middle America town. Very long but not boring

41 Reviews | 9 Followers
90
Top world-cass singers, vivid sets moving cinematically

See it if Donizetti's love tragedy beautifully sung and acted in modern dress with a gorgeous 100-piece orchestra and tour-de-force scenery appeals.

Don't see it if you prefer that your period pieces not be performed in modern dress, or if a fast 3-1/2 hours (including 2 intermissions) ain't your thing. Read more

Critic Reviews (8)

The New York Times
April 24th, 2022

"There is a dull emptiness at the work’s center. While scenically intriguing and superbly sung and played — with Nadine Sierra, Javier Camarena and Artur Rucinski in excellent voice, and Riccardo Frizza conducting with fluidity, briskness and grandeur — this new 'Lucia' is ultimately unaffecting and unpersuasive."
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New York Magazine / Vulture
April 25th, 2022

"It’s not easy to negotiate the disjunction between opera speed and Hollywood pacing. In an aria, as in real life, expressing discontent to anyone who will listen is a time-consuming business. It doesn’t jibe well with an aesthetic of quick cuts and shifting perspectives. Stone deals with the problem by having the sets go slowly spinning in overlapping orbits. He also sends the characters on long walks around the stage to distract from the fact that they keep singing at length about the same damn thing."
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The Wall Street Journal
April 25th, 2022

"The show is a feat of technical wizardry, encompassing a turntable that revolves almost constantly—during the action and while set pieces are moved on and off it—as well as a lot of live and pre-recorded video. Yet the most startling effect is how profoundly this thoughtful interpretation erases the opera’s Romantic aura and accentuates its universal despair, upending the traditional balance of tragedy elevated through beautiful sounds. Here, the singers, especially the two splendid leads, really seem to be singing for their lives."
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The Observer
April 25th, 2022

"Some may find the entire enterprise a too demanding, distracting way to present Donizetti and Cammarano’s familiar, doomed characters, though Millennials and GenZers might welcome its multi-media approach. In any case, Stone doesn’t at all rewrite the drama"
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The Washington Post
April 25th, 2022

"Although its surfaces may seem familiar at first, over the course of three meticulously modernized acts, this blighted, unidentified patch of dystopia reveals itself as a far more unforgiving landscape. It’s an amalgam of Lucia’s internal and external terrain, a hybrid of a hardscrabble life and an unruly dream."
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Exeunt Magazine
April 25th, 2022

"Met general manager Peter Gelb is smart to employ directors like Stone and Ivo van Hove, whose production of 'Don Giovanni' will debut next season. They bring a perspective that the company has ignored for too long, and they challenge notions of what classic opera should look like. But Stone’s first outing is too muddled and inconsistent to make a lasting impression. I would have preferred true unhinged madness to light shock."
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New York Classical Review
April 24th, 2022

"This was a production that people wanted to talk about, even with strangers. At intermission a man asked me what I thought. I said that it worked for me, but that the videos were distracting. He responded that he was a multi-media enthusiastic, so that element fascinated him, quickly adding that the entire concept would resonate with his daughter far more than a traditional staging. Undoubtedly, that’s exactly the response for which the Met was hoping."
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O
April 24th, 2022

"From the very start of the opera until the end, the audience is forced to make a very problematic choice—watch a massive movie screen hanging over the proscenium (and sometimes even on the proscenium) or watch what is happening onstage."
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