Opera in three acts, by Donizetti; words by Salvatore Cammarano, after Scott's novel, "The Bride of Lammermoor."

Produced, San Carlo Theatre, Naples, September 26, 1835, with Persiani as _Lucia_, and Duprez as _Edgardo_, the roles having been especially composed for these artists. London, Her Majesty's Theatre, April 5, 1838, and, in English, at the Princess Theatre, January 19, 1848. Paris, 1839. New York in English, at the Park Theatre, November 17, 1845; and, in Italian, November 14, 1849. Among celebrated _Lucias_ heard in this country, are Patti, Gerster, Melba, Sembrich, Tetrazzini and Galli-Curci (Chicago, November 21, 1916); among _Edgardos_, Italo Campanini and Caruso.

CHARACTERS

LORD HENRY ASHTON, of Lammermoor _Baritone_ LUCY, his sister _Soprano_ EDGAR, Master of Ravenswood _Tenor_ LORD ARTHUR BUCKLAW _Tenor_ RAYMOND, chaplain at Lammermoor _Ba.s.s_ ALICE, companion to Lucy _Mezzo-Soprano_ NORMAN, follower of Lord Ashton _Tenor_

Relatives, Retainers, and Friends of the House of Lammermoor.

_Time_--About 1700.

_Place_--Scotland.

(Note. The characters in Italian are Enrico, Lucia, Edgardo, Arturo, Raimondo, Alisa, and Normanno.)

"Lucia di Lammermoor" is generally held to be Donizetti's finest work.

"In it the vein of melody--now sparkling, now sentimental, now tragic--which embodies Donizetti's best claim on originality and immortality, finds, perhaps, freest and broadest development." These words are quoted from Baker's _Biographical Dictionary of Musicians_, a volume that rarely pauses to comment on an individual work. "Lucia"

is indeed its composer's masterpiece; and a masterpiece of Italian opera in the older definition of that term. Its melodies are many and beautiful, and even when ornate in pa.s.sages, are basically expressive of the part of the tragic story to which they relate. Moreover, the s.e.xtet at the end of the second act when _Edgar of Ravenswood_ appears upon the scene just as Lucy with trembling hand has affixed her signature to the contract of marriage between _Lord Bucklaw_ and herself, ranks as one of the finest pieces of dramatic music in all opera, and as a concerted number is rivalled, in Italian opera, by only one other composition, the quartet in "Rigoletto."

The s.e.xtet in "Lucia" rises to the full height of the dramatic situation that has been created. It does so because the music reflects the part each character plays in the action. It has "physiognomy"--individual aspect and phraseology for each partic.i.p.ant in the drama; but, withal, an interdependence, which blends the voices, as they are swept along, into one grand, powerful, and dramatic climax.

Another number, the mad scene in the third act, gives coloratura sopranos an opportunity for technical display equal to that afforded by the lesson scene in "Il Barbiere di Siviglia"; and, unlike the latter, the music does not consist of interpolated selections, but of a complete _scena_ with effective recitatives and brilliant solos, that belong to the score.

In the story of "Lucia," the heroine's brother, _Lord Henry Ashton_ of Lammermoor, in order to retrieve his fallen fortunes, and extricate himself from a perilous situation in which his partic.i.p.ation in political movements directed against the King has placed him, arranges a marriage between his sister and _Lord Arthur Bucklaw_. _Lucy_ herself knows nothing of this arrangement. _Henry_, on the other hand, is equally ignorant of an attachment which exists between _Lucy_ and _Edgar of Ravenswood_, between whose family and his own there long has been a deadly feud. When he discovers it, he uses the most underhand methods to break it off.

_Edgar of Ravenswood_ is the last of his race. While he is absent on a mission to France in the interests of Scotland, he despatches many letters to _Lucy_. These letters are intercepted by _Henry_ who also arranges that a forged paper, tending to prove the infidelity of _Edgar_, is shown to _Lucy_. Urged by the necessities of her brother, and believing herself deserted by her lover, _Lucy_ unwillingly consents to become the bride of _Lord Arthur Bucklaw_. But, just as she has signed the marriage contract, _Edgar of Ravenswood_ suddenly appears. He has returned from France, and now comes to claim the hand of _Lucy_--but too late. Convinced that _Lucy_ has betrayed his love, he casts the ring she gave him at her feet and invokes imprecations upon her and his ancient enemies, the House of Lammermoor.

At night he is sought out in his gloomy castle by _Henry_. They agree upon a duel to be fought near the tombs of the Ravenswoods, on the ensuing morning, when _Edgar_, weary of life, and the last of a doomed race, intends to throw himself on his adversary's weapon. But the burden of woe has proved too much for _Lucy_ to bear. At night, after retiring, she goes out of her mind, slays her husband, and dies of her sorrows.

_Edgar_ awaits his enemy in the churchyard of Ravenswood. But _Ashton_ has fled. Instead, _Edgar's_ solitude is interrupted by a train of mourners coming from the Castle of Lammermoor. Upon hearing of _Lucy's_ death he plunges his dagger into his breast, and sinks down lifeless in the churchyard where repose the remains of his ancestors.

On the stage this story is developed so that shortly after the curtain rises on Act I, showing a grove near the Castle of Lammermoor, _Henry_ learns from _Norman_ the latter's suspicions that _Lucy_ and _Edgar_ have been meeting secretly in the park of Lammermoor. _Norman_ has despatched his huntsmen to discover, if they can, whether or not his suspicions are correct. "Cruda funesta smania" (each nerve with fury trembleth) sings _Henry_.

Returning, the hunters relate, in a brisk chorus, that

Long they wander'd o'er the mountain, Search'd each cleft around the fountain,

finally to learn by questioning a falconer that the intruder upon the domain of Lammermoor was none other than _Edgar of Ravenswood_. Rage and the spirit of revenge are expressed in _Henry's_ vigorous aria, "La pietade in suo favore" (From my breast I mercy banish).

[Music: La pietade in suo favore]

The scene changes to the park near a fountain. What now occurs is usually as follows. The curtain rises, and shows the scene--evening and moonlight. There is played a beautiful harp solo, an unusual and charming effect in opera. Having prepared the mood for the scene which is to follow, it is promptly encored and played all over again. Then _Lucy_ appears with her companion, _Alice_. To her she relates the legend of the fountain, "Regnava nel silenzio" (Silence o'er all was reigning).

[Music: Regnava nel silenzio]

This number gives an idea of the characteristics of _Lucy's_ princ.i.p.al solos. It is brilliant in pa.s.sages, yet its melody is dreamy and reflective. Largely due to this combination of traits is the popularity of "Lucia di Lammermoor," in which, although there is comparatively little downright cheerful music, it is relieved of gloom by the technical brilliancy for which it often calls;--just as, in fact, _Lucy's_ solo following the legend of the fountain, dispels the dark forebodings it inspired. This second solo for _Lucy_, one of the best-known operatic numbers for soprano, is the "Quando rapito" (Then swift as thought).

[Music: Quando rapito in estasi del piu cocente ardore]

Another beautiful and familiar number is the duet between _Lucy_ and _Edgar_, who has come to tell her of his impending departure for France and to bid her farewell: "Verranno a te [Transcriber's Note: original has incorrect "la"] sull'aure" (My sighs shall on the balmy breeze).

[Music: Verranno a te sull'aure i miei sospiri ardenti]

Act II. Apartment in the Castle of Lammermoor. "Il pallor funesto, orrendo" (See these cheeks so pale and haggard).

[Music: Il pallor funesto, orrendo]

In this sad air _Lucy_ protests to her brother against the marriage which he has arranged for her with _Bucklaw_. _Henry_ then shows her the forged letter, which leads her to believe that she has been betrayed by her lover. "Soffriva nel pianto, languia nel dolore" (My sufferings and sorrow I've borne without repining) begins the duet between _Lucy_ and _Henry_ with an especially effective cadenza--a dramatic number.

Though believing herself deserted by _Edgar_, _Lucy_ still holds back from the thought of marriage with another, and yields only to save her brother from a traitor's death, and even then not until she has sought counsel from _Raymond_, the chaplain of Lammermoor, who adds his persuasions to _Henry's_.

The scene of the signing of the dower opens with a quick, bright chorus of guests who have a.s.sembled for the ceremony.

[Music]

There is an interchange of courtesies between _Henry_ and _Arthur_; and then _Lucy_ enters. The sadness of her mien is explained by her brother to _Arthur_ on the ground that she is still mourning the death of her mother. Desperate, yet reluctant, _Lucy_ signs the contracts of dower; and at that moment, one of the most dramatic in opera, _Edgar_, a sombre figure, but labouring under evident though suppressed tension, appears at the head of the broad flight of steps in the background, and slowly comes forward.

The orchestra preludes briefly:

[Music]

[Ill.u.s.tration: Photo by Mishkin

Caruso as Edgardo in "Lucia di Lammermoor"]

[Ill.u.s.tration: Photo copyright, 1916, by Victor Georg

Galli-Curci as Lucia in "Lucia di Lammermoor"]

The greatest ensemble number in Italian opera, the s.e.xtet, has begun.

_Edgardo_: "Chi mi frena in tal momento? Chi tronc dell'ire il corso?" (What restrains me at this moment? Why my sword do I not straightway draw?):

[Music: Chi mi frena in tal momento?]

Because he sees _Lucy_ "as a rose 'mid tempest bending":

[Music]

Even _Henry_ is moved to exclaim, "To my own blood I am a traitor":

[Music]

The chorus swells the volume of sound, but _Lucy's_ voice soars despairingly above all:

[Music]

_Lucy_ and _Edgar_--they are the victims of _Henry's_ treachery, as will soon transpire.

Act III. The first scene is laid in _Edgar's_ gloomy castle, whither at night comes _Henry_ to challenge him to a duel at morn.