Mendelsohn on "Lucia"

I'm not sure if Daniel Mendelsohn, who happens to be a friend, has ever written about opera before. But in the current issue of The New York Review of Books, he has an absolutely brilliant article/review of the Met's "Lucia." It has tons of insights into bel canto opera, Donizetti, and "Lucia," and his take on Dessay's performance resonates with what another connoisseur expressed to me, that her interpretation was somehow underwhelming despite her vocal endowment.

To the editors of the New York Review: Please have Daniel review more opera! His voice is much needed. And I'd say that even if he weren't a friend!

The Two Stephens

Last night, Tuesday, the 24th, Sirius broadcast Verdi's Aida live from the Met. The standout was Stephen O'Mara, who had already sung a previous performance, covering for Berti. O'Mara has the sound of a real tenore di forza, burnished and powerful, with a ringing top. Given the roles in his repertory, I hope the Met finds a way to make use of him. (Does he really sing both Siegfrieds?)

Tonight, the 25th, was the much-anticipated Lucia, also broadcast on Sirius, with Stephen Costello as Edgardo--much-anticipated by opera mavens, who know him from appearances in Philadelphia and with OONY, not to mention clips that can be found on YouTube. Despite a few signs of tiring at the end, he was spectacular. His beautiful lyric voice has focus, color, and a real liquid grace. He's so young, though, that I hope he's not being rushed.

Annick Massis was a splendid Lucia, tossing off high Ds with abandon, floating notes with ethereal grace, showcasing her marvelous trill, and giving point to the text. I wish she hadn't opted for the flute obligato in the Mad Scene, however. Amazing, though, to have two such accomplished artists--Dessay and Massis--perform this role in tandem.