REVIEW: Lucia di Lammermoor, Grimeborn Opera Festival at Arcola Theatre 9 – 13 September 2025
‘Whimsical rather than overblown but this works surprisingly well to bring the story to an emotive end.’ ★★★★
Billed as Gaetano Donizetti’s classic gothic opera, audiences might have expected melodrama, gore, dark sets and romantic clothing. So, it is rather surprising to see that the costumes are present day, and the set is simple in the extreme. The show is whimsical rather than overblown, but this works surprisingly well to bring the story to an emotive end. Who in the audience would not feel sorry for the guilt racked Edgardo?
The story is less simple, based on Walter Scott’s 1819 historical novel The Bride of Lammermoor and first performed in 1835. It involves a matter which much intrigued families in the day, finding a suitable partner to marry. Here in Lucia di Lammermoor, Lucia has fallen in love with Edgardo. Unfortunately, her brother Enrico is anxious to save the family from their financial problems by marrying her off to the wealthy Arturo. The problem is exacerbated because of a family feud between Edgardo and Enrico. In short, it all ends in tragedy.
The programme helpfully tells the tale scene by scene and the words are on screens around the auditorium, so audiences need not miss any nuance of the show. The plainness of the design leaves the story to be centre stage, with a rather rustic quality. Laurence Panter on the piano particularly has some fun, with trills and emphasis here and there, it seems to add the occasional exclamation mark.
Beren Fidan, as Lucia, has the most tremendous task which she accomplishes well. Her role, with such high notes often sustained, must require immense skill and then she also has the talk of ‘going mad’. This is cleverly achieved with the help of a rope of light which is coiled and embedded in a raised platform. This flexible rope becomes a part of her inner turmoil.
The highlight of the opera (for me at least) is the wedding scene with the brother Enrico seeming to be marrying Arturo himself and even signing the vows in place of his sister. A masterly stroke, comic and sinister at the same time. Eamonn Walsh as Arturo plays his role well, with camp vanity and arrogance. The costuming for this section adds much to the sense of conniving manipulations with flounces and frills contrasting with the simple white dress for the bride. Albeit a really terrible dance section, it is a fascinating interpretation.
So, to the final scene, to tenor Jack Dolan as Edgardo, who has such a beautiful quality and tone to his voice. His anguished solo is utterly convincing, with the sense of guilt, remorse, loss, all deeply conveyed. Another success for Grimeborn Festival of chamber Opera. Alas, this is the last show, but we must hope that Barefoot Opera will be back next year with another offering.
Photography: Matthew Johnson
Barefoot Opera presents
Grimeborn Opera: Lucia di Lammermoor
Composed by Gaetano Donizetti
Directed by Rosie Kat
ARCOLA THEATRE
9 September – 13 September 2025
BOX OFFICE https://www.arcolatheatre.com/whats-on/lucia-di-lammermoor
The Company
Beren Fidan
Lucia
Philip Smith
Enrico
Jack Dolan
Edgardo (9, 10 & 12 September)
Davide Basso
Edgardo (13 September)
Alistair Sutherland
Raimondo
Eamonn Walsh
Arturo
Laurence Panter
Normanno
Gaetano Donizetti
Composer
Rosie Kat
Director
Laurence Panter
Musical Director
Jenny Miller
Dramaturg
Fenna de Jonge
Designer
Lucy Mulgan
Double Bass
Lydia Kenny
Saxophone
Laurence Panter
Piano
Alistair Sutherland
Accordion
