Donizetti's Other Operas

Gaetano Donizetti was a workaholic who composed at least 65 operas before dying at age 50. (The total number of his operas varies depending on who’s counting, and what they count as a discrete opera, since he revised so many of his pieces so thoroughly and so often.)

Seattle Opera is about to close our production of Donizetti’s great tragedy, Lucia di Lammermoor, and pivot to an earlier Donizetti comedy, Viva la Mamma! Written in 1827 and revised in 1831, four years before Lucia, Viva la Mamma! is a ridiculous farce in the tradition of Rossini’s Barber of Seville, which is coming up next on the Seattle Opera mainstage. Viva la Mamma! pokes fun at nineteenth-century Italian opera. Its original title, Le convenienze ed inconvenienze teatrali, can’t be translated; convenienze refers to conventional rules relating to the ranking of singers (primo, secondo, comprimario) and the number of scenes, arias, etc., that they were entitled to expect. The inconvenienze (“inconveniences”) include a madly tempermental Prima Donna who refuses to rehearse, her pushy husband, an insecure German tenor who can’t master the Italian language, and an overbearing stage mother. Our cameras are down at Viva la Mamma! rehearsal right now, and soon we’ll have a peek at this delightful production ready for you. But for today, I wanted to give you a few TV Guide-style blurbs for other Donizetti operas you may know, and some you may not know:


Donizetti Operas We’ve Produced


Comedies

The Elixir of Love, 1985. Photo by: Chris Bennion

The Elixir of Love (1832): Dopey Nemorino (tenor), desperate to win the heart of sassy Adina (soprano) away from the obnoxious Captain Belcore (braggart baritone), buys a magic love potion from the quack Doctor Dulcamara (bass). It turns out to be cheap red wine, but at least that gets Nemorino’s courage up, and Adina discovers she truly loves him.

The Daughter of the Regiment, 1973. Photo by: Des Gates

The Daughter of the Regiment (1840): Tomboy Marie (soprano) is taken away from the regiment that has raised her, including the gruff Sulpice (bass) and her sweetheart Tonio (tenor with 9 high Cs), so that the snooty Marquise de Birkenfeld (mezzo) can make a lady of her. A last-minute switched-baby revelation saves the day.

Don Pasquale, 2003. Photo by: Chris Bennion

Don Pasquale (1843): A vast practical joke attempts to teach Don Pasquale (bass) that old men shouldn’t marry young wives; but the jokers (the sly Dr. Malatesta, used-car salesman baritone; Pasquale’s nephew Ernesto, lovesick tenor; and his girlfriend Norina, abusive soprano) learn a lesson or two along the way.

Rita, 2007, Young Artists Program. Photo by: Rozarii Lynch

Rita (1841): Another delightful comedy about domestic violence. Rita (soprano), who runs an inn, routinely beats her wimpy husband, Beppe (tenor), who is desperate to be free of her. But when Rita’s former husband, Gasparo (baritone), comes back from the dead and the two men get in a competition to determine which of them has to stay married to the ghastly Rita, Beppe realizes he truly loves his wife.


Tragedies

Lucia di Lammermoor, 1964. Photo by: William Jensen

Lucia di Lammermoor (1835): Lucia (soprano) is driven to madness when her brother Enrico (baritone), tells her that her boyfriend Edgardo (tenor) is unfaithful, and forces her into a political marriage. Who shows up at the wedding? The annoyed Edgardo, of course; Lucia flips out and kills her new husband, and she and Edgardo both die.

Anna Bolena, 1991. Photo by: Gary Smith

Anna Bolena (1830): King Henry VIII (bass) has broken with Catholicism and set up the Anglican Church in order to dump his first wife and marry Anne Boleyn (soprano). But now he’s bored of her and wants the hot Jane Seymour (mezzo). Follow the intrigue as Henry conspires to frame Anne for adultery while she insists on dying with a clear conscience.


Donizetti Operas We’ve Not Produced


Comedies

The Chemist’s Bell (1836): Enrico is dejected because the love of his life, Serafina, has married Don Annibale, the old coot that runs the neighborhood drugstore. There’s a local law that says the pharmacist HAS TO answer his door no matter what the time, so Enrico doesn’t let the pair go to sleep on their wedding night, exhausting a wardrobe full of disguises and a zillion prescriptions to keep the pharmacist away from his wedding-bed.

The Tutor in Trouble (1826): Poor young Pipetto—his father hates women so much he has raised his son without ever letting the boy meet a woman. Little wonder, then, that Pipetto should fall in love with the first female he meets, the ancient cleaning-lady Leonarda. But when the girl next door gets a whiff of what’s going on, she has a few choice words with Pipetto’s dad.


Semi-Seria (Serious Opera with Happy Endings)

The Exile from Rome (1828): When Murena, an ancient Roman slave-trader, finds out his daughter’s boyfriend Settimio is a Christian, he has the boy thrown to the lions. But one of the lions recognizes Settimio as an old friend and a fellow Christian, so all ends happily.

The Madman on the Island of San Domingo (1833): Cardenio, the Madman on the Caribbean island of San Domingo, suspects his wife of infidelity. He tries to kill her, tries to kill himself, and finally suggests they kill each other. Her willingness to do so restores his reason.

Linda di Chamounix (1842): Another mad lady bel canto opera. Linda goes nuts when someone tells her her boyfriend Carlo was marrying someone else, but Carlo restores Linda’s sanity by singing her the melody of their love duet.


Donizetti’s History of the British Crown

A four-part mini-series filled with romance, adventure, espionage, and lengthy coloratura arias! In addition to Anna Bolena, Donizetti also wrote:

Il castello di Kenilworth (1829): Henry’s daughter by Anne, Queen Elizabeth, is not as lucky at love as her father (with his eight wives): she has her heart set on Leicester, who is secretly married. Bess, however, is more good-natured than her dad; she lets the young lovers go their way.

Maria Stuarda (1834): But when she catches Leicester fooling around with her Scottish cousin Mary (pretender to the English throne) Queen Elizabeth is less clement: she has Mary executed and forces Leicester to watch.

Roberto Devereux (1837): The hapless Elizabeth loses her heart again, this time to a French traitor who’s secretly in love with the wife of a minister. But Elizabeth’s minions at the Tower of London work too fast for her to be able to save Robert, and in the end she renounces her crown.


Tragedies

Gabriella di Vergy (1826): The gruesome saga of Gabriella, whose husband Fayel locks her up, kills Raoul, her lover, and brings her Raoul’s heart, still warm, in a pewter urn, whereupon she dies from the shock.

Gemma di Vergy (1834): No relation to Gabriella. Gemma’s husband dumps her for a new wife who will be less barren, so Gemma has her lovesick Arab slave Tamas stab the two-timing jerk at his wedding. But Tamas stabs himself, too, and Gemma ends up longing for death.

Lucrezia Borgia (1833): At the Borgia “orgia”, or orgy, Lucrezia’s endless supply of poisons, antidotes, and phony Romeo-and-Juliet style poisons, combined with a trousers role and last-minute baby-switcheroo revelations, causes great confusion and tragedy.

Marino Faliero (1835): Conspiracy and (well-founded) slander brings down an old Venetian Doge, his wife, and her lover (his nephew).

Poliuto (1840): More Christian martyrdom in ancient Rome, this time without the merciful lions.

La favorite (1840): Monk becomes war hero in order to be worthy of his true love, except she’s been the king’s mistress and so no one will take him seriously. He returns to the monastic life and she dies in his arms.

Maria di Rohan (1843): A suspenseful story of a jealous husband’s revenge, set in Richelieu’s Paris.

Dom Sébastien (1845): Portugal and Spain fight for control of Africa, while the Inquisition and a beautiful Moorish princess (and her jealous lover), plus the fact that no one will believe he didn’t really die in battle, complicate life for the war hero Dom Sébastien.

Happy Halloween from Your Bloody Friends at Seattle Opera

Here's a Halloween greeting from Seattle Opera, filmed at our ArtsCrush "How to Make Fake Blood" workshop last weekend, featuring Props Master Pete Olds. Video by Matt Holmes.

A Chat with Aleksandra Kurzak

Today we speak with Polish soprano Aleksandra Kurzak, who—along with Davinia Rodríguez—is performing her role debut as Lucia in Seattle Opera's Lucia di Lammermoor. Kurzak has received glowing reviews for her portrayal of a woman driven to madness, and we asked her what that experience has been like.

This is your first time performing Lucia. What has been the biggest challenge in learning the role? What have you enjoyed the most?
The biggest challenge has been all the memorizing, but I enjoyed the rehearsal time very much, and working with my great colleagues!

People in our audiences and on our website have been comparing Callas and Sutherland and Sills, among other Lucias. Do you have strong feelings about any of those performances? Did any of them influence yours?
I've heard all of them, but I don't like to compare myself with anybody. I always like to find my own character, and it was like that this time, as well.

Lucia is a victim in the opera, but she does end up committing murder. Do you think she can be held responsible for her actions, or is it not her fault that she kills Arturo?
She is out of her mind, and I think she doesn't really know what she is doing.

Aleksandra Kurzak (Lucia) and William Burden (Edgardo) in Seattle Opera's Lucia di Lammermoor

You’ve done several comic operas in the past, and now you are performing a tragic role with one of opera’s most famous mad scenes. Do you have a preference? Would you rather do light, fun roles, or do you prefer more dramatic operas?
I like interesting roles. I’ve sung Gilda and Violetta, as well, so I haven’t done only light stuff. But Lucia is definitely a special one because of the mad scene, which I just love to play!

How did you rehearse the mad scene? You move all over the stage, lie down, tear at your veil and clothes, wave a knife at people. How difficult is it to coordinate all those moves with your singing? How much is fixed, and what changes each night?
This is not difficult at all for me, because it’s something that comes from inside me. Each time is a little bit different. I know the basic movements and when I have to be where, but director Tomer Zvulun gave me freedom to experiment. Because of that, I’ve heard from the people that the mad scene really keeps their attention, and never gets boring.

Aleksandra Kurzak (Lucia) in Seattle Opera's Lucia di Lammermoor

You and Davinia Rodríguez are both performing Lucia for the first time. Did you know each other before coming to Seattle? Do you share notes and ideas during the rehearsal process, or do you work separately from each other?
We knew each other, but we never worked with each other. I've sung with Davinia's husband, conductor Riccardo Frizza, a few times. Davinia and I have spent a lot of time together here in Seattle and have had fun and gone shopping, but we don’t talk about work.


Photos by Rozarii Lynch

A Chat with LUKE YUGAWA

I was backstage at a performance of Lucia the other day and got to chat with one of the younger people on the Lucia team, twelve year-old supernumerary Luke Yugawa (left, in circle). A “supernumerary” is a non-singing character performed, usually, by a volunteer; Seattle Opera is blessed to have dozens of people in our community eager to volunteer their time and theatrical talents to bear princesses on litters, carry corpses on biers, swell ranks of soldiers, run away from crossfire in a Vietnamese village, or any number of other things. In Lucia, Luke plays a young Lammermoor who greets Arturo Bucklaw, upon his entrance to the castle in Act Two Scene Two, and (with another young supernumerary) offers him flowers on his wedding-day.

Luke, how did you get involved in this production?
I did a lot of acting at Seattle Children’s Theatre and I have a lot of connections there. I think Paula [Podemski, Seattle Opera’s Production Coordinator] had a person who was going to play my role in this production, who backed out right before the rehearsals started. She contacted Seattle Children’s Theater, my mom saw the email, we printed it out and that day had the interview with Paula.

When might we have seen you at SCT?
Two summers ago I played a fawn in Through the Looking Glass; last summer I played Jeff in There’s a Boy in the Girls’ Bathroom.

And were you the boy in the girl’s bathroom?
I played the friend of this kid who got labeled a bully. It was about how he, sort of, changes into a better person because someone believes in him as a human being.

Let’s talk about Lucia. Where do we look for you in this opera?
I’m in Act Two Scene Two. We give Arturo flowers, as he comes down this staircase. I know it’s safe, but it shakes a little bit, and it’s hard to keep balance. It gets worse when Edgardo comes running through...that makes it shake more.

What’s your favorite part of the opera?
I really like the mad scene, with the flute.

Do you play an instrument?
Yeah, I play flute.

Have you tried to play the mad scene on your flute?
Never...I suppose I might be able to try.

How did you get started with the instrument?
My sister started playing violin when she was 3, and I’ve always been around a lot of musicians. I love the sound of the flute, and I really wanted to play it. I’ve been playing for about seven years.

Back to Lucia...what’s your least favorite part?
Ooo…that’s hard. I can’t think of any part that I don’t like. I like opera music, even when the story’s not that great.

Would you say this opera has a dumb story?
I wouldn’t say it has the best story...but for me, operas are really about music anyway.

Whose voice do you like the most?
I’d say the gold cast Edgardo, Bill Burden. His style, his voice, it’s different, it stands out from all the other people’s voices.

Do you have any advice for our characters? What would you like to be able to tell Lucia?
I would tell Lucia that if her family is gonna get killed, she should probably marry Arturo, even if she doesn’t love him. I think it’s a bit selfish of her to get all of them killed just because she was in love.

How unromantic of you! Any advice for the other characters?
I’d tell Edgardo not to freak out at Lucia’s wedding...I suppose I’d ask Enrico not to be quite so evil, not to be so hard on Lucia, even if he’s going to die if she doesn’t marry Arturo. And as for Arturo, I’d tell him to be cautious…Lucia’s got a knife!

If you were to work for an opera company when you grow up, what job would you most like to have?
I think...I’d like to be a conductor.

What surprised you the most about being in an opera?
I’ve seen a lot of operas, and I had this stereotype from just sitting there watching them. I thought they were very old fashioned. I didn’t know they were wearing wigs, for instance, I never thought about what the singers would look like when they weren’t onstage, and they’re so normal! My favorite part of this whole experience was being in the rehearsal room, watching all the people in their jeans and t-shirts, singing opera. That was pretty interesting.

Do you want to be in another opera?
Yes! [Smiles broadly.]

Operas in Theaters and Movie Theaters

I had a big day of opera on Saturday, at the Metropolitan's HD Simulcast of Boris Godunov, starring the great Rene Pape (left) in the much-lauded production directed by Stephen Wadsworth, in the morning, and then a live performance of Lucia di Lammermoor, featuring the amazing Aleksandra Kurzak, at Seattle Opera in the evening. Both had mad scenes. But the experiences were more different than they were similar, and I turn to long-time Seattle Opera attendee MARY BRAZEAU for a common-sense perspective on why she goes to movies and to live performances.

"Much has been made of the HD Broadcasts of opera, and I don’t deny that they have a certain appeal. The price is right, you are seeing, arguably, some of the most recognizable names in opera with an intimacy not found from the best seats in the house and in productions that have the luxury of great financial resources. In addition there are usually interviews and behind the scenes footage to add to the experience. Personally, I am not a fan of all the backstage filming usually included as part of these broadcasts. When a soprano has been transporting us with her artistry convincing us that she is a foolish young girl in love, I do not want to see her galumphing backstage in a sweat, huffing and puffing and chugging from a water bottle, destroying the fragile magic of the theatre she had, just moments ago, been working to create.

"Saturday night, at the opening of Lucia di Lammermoor, however, the real reason for me that HD Broadcasts will never replace the live experience was made manifest. During the famous mad scene, over 2000 individuals became one. Collectively we held our breath, mesmerized while Aleksandra Kurzak astounded us with her portrayal of the desperately unhinged Lucia. Then there was the wall of energy that rushed from the auditorium to the stage as the crowd roared its approval. So palpable was it that I literally expected to see hats fly off of heads and the performers on stage buffeted about as if by a gale wind.

"There is a special alchemy that takes place with live performance. As an avid movie fan and regular attendee of the Seattle International Film Festival I have seen many films that have moved me deeply, but it has always been an solitary experience. As a member of the opera audience I participate in something that is greater than the sum of its parts. A special relationship exists between the audience and the performers, each feeding off of the energy of the other and responding in real time. The level of excitement Saturday night was special, but not unique in my lifetime of attending live performance; and it is something I would not exchange for any amount of popcorn and free parking."

--Mary Brazeau

A Chat with Arthur Woodley

Bass Arthur Woodley is a Seattle Opera favorite, having appeared in 12 productions going back to the 1997/1998 season, when he performed the role of Bartolo in Le nozze di Figaro. Now he’s back in Seattle as Raimondo, Lucia’s family minister and confidant, in Lucia di Lammermoor. Today we talk to Woodley and get some insight into his character and the production.

Let’s start with your character. Is Raimondo one of the “good guys”? After Lucia goes mad, he blames Normanno for all the bloodshed, but it doesn’t appear that Raimondo himself did much to help the situation.

Raimondo is a man, a minister, and a conciliator. A good man? I don't think we can put him in an either/or category. He is a man that is trying to bring peace between two factions and happiness to all. He knows it will be difficult and that difficult choices will have to be made.

Raimondo blames Normanno because it was Normanno who spied on Edgardo and Lucia and tells Enrico. Why? Because he is ambitious—he wants power and position and is willing to do whatever it takes to get ahead. Raimondo confronts him twice in Act 1.

So in Act 2, when Raimondo convinces Lucia to marry Arturo, is he just following Enrico’s orders, or does he believe he’s doing the right thing?

Raimondo convinces Lucia to marry Arturo because he truly believes that Edgardo, who has left for France, is being unfaithful to Lucia. In his Act 2 recitative, Raimondo recalls how he has sent a letter written by Lucia to Edgardo and has received no answer, which he fears points to Edgardo's unfaithfulness. He has known both Lucia and Enrico since they were children and knew their dead parents. He wants to do the best for the entire family and feels that he needs to secure a concrete future for both of them.

Raimondo (Arthur Woodley) comforts Lucia (Aleksandra Kurzak)

Have you performed Lucia before?

This is my fourth production of Lucia. Wow! Time flies!

This production of Lucia adds the little recitative after the mad scene in which you chew out Normanno for having caused so much trouble. This part is usually cut, so why is it included in this production?

We all had a discussion about it. We wanted to know if the recitative offered an opportunity to move the story forward or added an explanation of motives. With the addition of this scene we see that another person was involved in pushing this tragedy forward. You can say it "puts the blame on Mame" or, in our case, Normanno.

Raimondo confronts Normanno (Eric Neuville)

You’ve been in about a dozen productions with Seattle Opera, going back to the 1997/1998 season, including Le nozze di Figaro, Boris Godunov, Les contes d'Hoffmann, Il trovatore, and many others. Is there any role you haven’t yet tackled that you’d like to?

So, since you mention that I have been in productions since the 1997/1998 season, are you saying that I am one of Seattle Opera's ancient men? Truth be told, I can't believe it's been so long. I wish I could single out one great memory with Seattle Opera, but I can't, though I remember my nervous debut in Figaro.

The role that I haven't done and would love to do is King Philip in Don Carlo.

Vocally, this role of Raimondo in Lucia goes down pretty low. Where does your vocal range tend to lie, and how does it fit with this role?

Raimondo is very rangy and I love roles that allow me to use all of my voice. I am a basso cantante, which can also be called a lyric bass. It means that I have the range of a bass with a little extra at the top of the range and am able to sing smoothly (legato) as well. Donizetti has written a role that is both dramatically and vocally satisfying. When I began singing, I wanted to be a Verdi baritone, but with time and lessons we found my true voice and I am so thankful for being a basso cantante.

Photos of Seattle Opera's Lucia di Lammermoor by Rozarii Lynch

Young Artists in LUCIA

Our production of Lucia di Lammermoor features a cast with a few familiar faces and also plenty of new ones—including three members of our very own Young Artists Program: mezzo-soprano Lindsey Anderson (Alisa), tenor Eric Neuville (Normanno), and tenor Andrew Stenson (Arturo). Today, we talk to this trio of Young Artists about their Lucia experience.

All of you are making your Seattle Opera mainstage debuts in Lucia. What has that been like?

Lindsey: As a Young Artist, to be entrusted with a mainstage role is both a true honor and a priceless learning experience.

Eric: A Seattle Opera debut is a huge milestone for any young singer, and it’s the ultimate educational experience. The three of us were a little green coming in, and we all wanted to make a great impression and not step on any toes. What a great way to learn--to be out there every night, side-by-side with the best. Thank you for the opportunity, Speight!

Andrew: I have had an AMAZING experience with Seattle Opera thus far. Everyone involved that I've met and worked with in Lucia has been wonderful, from my colleagues on stage to my wonderful wig/makeup artist Anne. I had no idea that I would be doing something like this at my age when I first started pursuing opera. We all really want to prove that the company made a great decision giving the Young Artists this fantastic opportunity.

Lindsey Anderson (Alisa) and Davinia Rodríguez (Lucia)

In Lucia, you’ve had the opportunity to work side-by-side with a cast of veteran performers. How has this helped you in your own performances?

Lindsey: Aleksandra Kurzak and Davinia Rodríguez have especially taught me a lot. In Act 1 Scene 2, when Lucia waits in the garden for Edgardo, my character, Alisa, tries her best to talk some sense into Lucia. Every time we do this scene there is something different—nothing is set in stone. That’s what really tells a story, when it is real and not calculated. Their spontaneity has truly helped me break away from the academic conventions of theater and use my instincts. This is a lesson you can't learn in a classroom.

Eric: Having recently moved up to tenor from baritone, I've faced many technical hurdles these last few months. It was invaluable having William Burden and Scott Piper here to answer questions that came up. Both were incredibly generous with their time and advice.

Andrew: Every member of the cast has been very supportive. I think Scott Piper is a brilliant artist who gives so much of himself in his performances; Bill Burden must have magic powers in order to be as vocally consistent and expressive as he is; Arthur Woodley has a voice so beautiful it makes you feel better about life just listening to it. Aleksandra Kurzak has this magical ability to make it seem like she is creating the music rather than interpreting it; Davinia Rodríguez has this visceral power in her voice that immediately commands the attention of the audience; Phil Cutlip could sing any baritone role he wants; Ljubomir Puškarić was a young artist at Cincinnati TWO summers ago and now here he is leading at Seattle, which says a lot in itself!

Eric Neuville (Normanno), Andrew Stenson (Arturo), and Ljubomir Puškarić (Enrico)

What productions or companies have you been a part of in the past? How do your past experiences compare to your time with Seattle and Lucia?

Lindsey: This past summer I took part in my first apprentice program, at Central City Opera in Colorado. It was a wonderful experience and was a great place to make my debut. I was Kate Pinkerton in Madama Butterfly and covered the role of Public Opinion in Orphée aux enfers. After Central City I came to Seattle and I understand why so many artists feel the way they do about this company. It is a beautiful thing to be part of!

Eric: I made my professional debut this summer as Beppe in Chautauqua Opera's Pagliacci. Before that, my stage experience included last year with Seattle Opera's YAP (Guglielmo and Harlekin), grad school, and then community theater productions back home in Wisconsin. Witnessing the experience and brilliant logistics here at Seattle Opera pushes me to bring absolutely everything I can to that stage. Knowing someone will be there to glue my mustache on before the show is one less thing I have to worry about.

Eric Neuville as Normanno

Andrew: I have been involved in four shows at Cedar Rapids Opera as a chorister and/or comprimario singer. Cedar Rapids really helped show me the process of putting together an opera, which really doesn't differ much from anywhere else, as far as the timeline goes. It really helped me prepare for the expectations of professional work so that when it came time to apprentice at Santa Fe, sing a leading role at Glimmerglass, or support here at Seattle, I knew exactly what to expect and how to be ready. All the training in schools and apprenticeships help you prepare for those big moments in your future. Debuting at Seattle Opera, to me, is like getting your first call up to the majors in professional baseball.


Photos by Rozarii Lynch

A Chat with Ljubomir Puškarić

Today we speak with our baritone for our Wednesday and Saturday night Lucias di Lammermoor, Ljubomir Puškarić, making his Seattle Opera debuts in the role of Lucia's manipulative brother.

First off, could you help us with the correct pronunciation of your name?
LYU-boh-meer (with a rolled “r”) PUSH-car-eech, with an emphasis on the first syllable of both.

Your character in Lucia, Enrico, doesn’t come off in the most favorable light. But what do you think about him?
True, Enrico is bad guy in this opera, but there are a lot of musical places in this role that show he has emotions. I do not believe that he is strictly a bad guy! I would say that he is a weak person who is trying to cover it with violence. He is especially too weak to lead his family after the death of both parents. In this production, we have tried to explore this direction as much as we could, and it was a pure joy for me to have a chance to work with [Stage Director] Tomer Zvulun and Maestro Cinquegrani! It is so much more interesting to sing a role like this, instead of one that’s just a plain violent person.

Enrico threatens Lucia (Ljubomir Puškarić and Aleksandra Kurzak)

When you alternate a role with someone, as you do with Philip Cutlip for Enrico, do you pay attention to what the other singer is doing? For example, do you compare notes or discuss the role with each other?
It was a great experience to have Philip as a partner in this production, along with all the other principals from both casts. I actually do not remember if we talked in detail about the role, but I was certainly paying attention when he was rehearsing because I was supposed to work on the same scene later. So it would definitively not be good if I had gone out and got some coffee instead!

Edgardo threatens Enrico (William Burden and Ljubomir Puškarić)

You grew up in Zagreb, Croatia. What is it like studying opera in Croatia? Is there a passionate opera following there?
Croatian National Theatre in Zagreb celebrates its 150th birthday this season! There are certainly a lot of opera lovers in Zagreb, but also in all of Croatia, which has four opera houses. The one in Zagreb is the biggest, with a very long and busy season. Performances in CNT include opera, ballet, and drama, so every day there is a performance in the theatre, and the opera has about 12 productions each season.

Studying opera is a lot more difficult in Croatia then in the U.S. For example, in Bloomington, Indiana, where I studied, a student has many opportunities and gets a chance to study, perform, and prepare himself for the start of his career. Everything you need is set on the table for you and it is just a question of if you are capable enough to take what is offered. Unfortunately, the Music Academy in Zagreb cannot compete with all those productions and facilities at Indiana University, due to a lack of funds. However, it is a lot cheaper to study in Croatia, starting from private lessons and coaching up through going to a university.

Have you had time to explore the local Croatian community in Seattle?
Actually I met a lot of Croats. During my first week here Arthur Woodley told me about Croatia Fest, which took place at Seattle Center on October 2nd and 3rd. So I went and met several people including the organizers. It is not often that somebody from Croatia sings at Seattle Opera so they wanted to announce that. I went on stage, introduced myself and talked a bit about the opera. Of course, I invited them all to see Lucia di Lammermoor. Some of them already went and some will come to see upcoming performances. That was nice, and I’m still in contact with some of them.

Does speaking Croatian make it easier to sing in other Slavic languages, such as Russian? I saw that you recently sang in Boris Godunov.
Since both are Slavic languages there are some similarities but not too many. However, I think that it is a lot easier for me to learn to sing in Russian than for someone who is not from a Slavic country. But in general it is easier for me to sing in Italian because I did not have a chance to sing in Russian a lot while studying.

Enrico conspires with Normanno (Ljubomir Puškarić and Eric Neuville)

I read on your website that you studied journalism and worked as a journalist for five years. When was this, and why did you decide to leave journalism? Were you studying opera at the same time?
My story is definitely not a typical one. After I finished high school I started to study journalism, but at the same time I started to sing in a big church chorus in Zagreb. Up until then, I had not had any contact with music, although I come from a musical family. I was more interested in sports, and starting when I was six, I trained for swimming, diving, athletics, soccer...when I started to study journalism, my idea was to become a sports writer.

I started with radio, then got a job in the sports section of a Croatian daily newspaper. I liked it very much; I traveled, wrote interviews with several national soccer players who now play in England's Premier league as well as many more interesting stories. But during the time, I also got an opportunity to sing as a freelance chorus member in Zagreb's Opera house; it was Verdi's Aida and they needed actually a small chorus of freelance singers to sing the slaves. The chorus master of my church chorus was also the chorus master for the opera, and I was one of several people he thought capable of doing this job.

It was completely new for me, but I was very happy! So, first I did Aida, then the same thing happened for Don Carlo and Boris Godunov in next two years. I was able to work both jobs, since the hours did not interfere too much at that time. Then, in spring 2005, I was asked to to sing in the opera chorus at every performance--that was the time of big decisions. I was not sure if I could pull that off because of my journalism job but I decided to try. My parents were not thrilled about that because they, as musicians, know how hard it is to make a living in music. And none of us knew whether I had any talent.

Along with all this, I was taking private voice lessons, so my schedule was pretty full. I had a small scooter, that saved me enormous amount of driving time and parking money. Also, I had a great editor at the newspaper who was not so strict about some things. I was able to work like that for about a year. But then the music director at the opera heard me and gave me a chance in several smaller roles. And I realized that my greatest talent is singing, not writing. Eventually I stopped working as a journalist and concentrated on singing.

I sang Figaro in Barber of Seville in two productions, in Zagreb and Rijeka, during my first year at the Music Academy. Everything was moving too fast, so I decided to take some time and study without having to work at the same time. I moved to the U.S., where I learned so much in two years in Bloomington, got a lot of knowledge, experience, contacts, and excellent management and now I am prepared for "second" start of my career. None of that would be possible without amazing efforts of my teacher Dr. Robert Harrison, my accompanist Davis Hart, but also Carol Vaness and Robert Porco. For now, all is going really well and I very grateful to Mr. Jenkins who gave me a chance to sing Enrico in Seattle.

Photos of Lucia di Lammermoor at Seattle Opera by Rozarii Lynch.

Upcoming CityArts & ArtsCrush Events

It's a busy week at Seattle Opera; in addition to performances of Lucia di Lammermoor, we have two exciting events presented in partnership with other groups.

Thursday night, October 21, at 6 pm we hope you'll join us and City Arts for a Fireside Chat at the Sorrento Hotel, 900 Madison St., for a discussion around mental illness as it relates to absinthe and the arts, with a focus on Lucia. Special guests include the opera's General Director Speight Jenkins, Director of Education Sue Elliot, Jamie Keyes, Ph.D. (a staff psychologist from Group Health), a homicide detective, and renowned Marteau Absinthe distiller Gwydion Stone. Marteau Absinthe will be available for the thirsty!

Then, on Saturday morning, October 23, as part of ArtsCrush Seattle Opera Props Guru Pete Olds will be teaching a workshop on stage blood, just in time for Halloween! Pete has been in the Seattle Opera blood-making business for more than 20 years and has made blood for operas such as Lucia di Lammermoor, Macbeth, and Bluebeard’s Castle. Everyone will get a chance to make different kinds of blood (thick, thin, spray-able, ooze-able). Everything is provided but beware: you’ll get bloody yourself so be sure to come prepared to get messy (this blood stains clothes). THIS EVENT IS NOW FULL.

First Reviews for LUCIA

Lucia di Lammermoor opened on Saturday evening to an enthusiastic audience that showered applause on soprano Aleksandra Kurzak and the rest of the cast. And now that the reviews are starting to come in, it looks like the critics are also crazy for Lucia.

Bernard Jacobson of THE SEATTLE TIMES said “Seattle Opera triumphs with ghostly Lucia di Lammermoor,” and that Kurzak “set the theater alight both vocally and dramatically.” He went on to say: “[Director Tomer] Zvulun's production marshals principals and Beth Kirchhoff's superb chorus on a clever set adapted from the one Dahlstrom originally created in 2008 for I puritani with telling clarity, drawing intensely lifelike performances from all concerned…. Conductor Bruno Cinquegrani paced the score authoritatively.”

Richard Campbell praised Kurzak’s mad scene on THE GATHERING NOTE: “Kurzak made the most of it, not only vocally but theatrically. She did more than descend the stairs, with blood staining her dress, and singing all those vocal flourishes. She actually seemed demented: terrorizing the wedding guests, throwing flowers, brandishing a knife, slashing her wrists….”

Writing for CORNICHON, Ronald Holden says, “You can't help but fall in love with the singers,” and notes that William Burden “becomes more assured and musically confident with each appearance [in Seattle]. …Burden has the unenviable task of following one of the most famous scenes in opera with an anguished aria of his own; he pulls it off with aplomb.”

Kristen Russell of PARENT MAP gives Lucia its stamp of approval, saying it “represents an excellent chance to expose teens to opera. Why? Short acts, plentiful scene changes, melodic arias, tragic madness and bloody death. Perfection! Opera buffs will find this Lucia heart wrenching, enthralling, impeccable and thrilling, and even opera newbies will be swept away by the music – gorgeous arias, duets, and, notably, Lucia’s signature sextet.”

And OPERA CASCADIA’s Dale Abersold had praise for the entire cast, and said, “Seattle Opera’s magnificent new Lucia di Lammermoor succeeds on every level, a near-total triumph to a degree that astonishes me. It’s a brilliant night at the opera. …I’m going to go again. Two more times, if possible. Because a performance like this is what opera should be.”

Our FACEBOOK page is also buzzing with comments such as: “This is one of the best performances I have seen in Seattle. I saw Anna Netrebko as Lucia at the Met last year but Aleksandra Kurzak's performance topped this and was simply outstanding last night!” (Bjorn Wahl) and “I thought it one of the best productions I've seen in my 35 years of opera subscription!” (Gretchen Freed Loschen).

If you’ve also seen Lucia, head over to FACEBOOK or TWITTER and let us know what you thought!

Photo of Edgardo (William Burden) cursing Lucia (Aleksandra Kurzak) by Rozarii Lynch.

Lucia di Lammermoor Opening Night Q&A with Speight Jenkins

After every performance, General Director Speight Jenkins hosts a free Q&A session in the lecture hall at McCaw Hall. Listen to Lucia di Lammermoor’s opening night session and hear Jenkins answer questions from the audience. The General Director also gives his own reaction to Aleksandra Kurzak's breathtaking "Mad Scene" performance, in which he says "I've been seeing this opera for 60 years and I have never seen a mad scene even close to that".

LUCIA Opening Night Dedicated to Sutherland; Photos of Today's Singers

Last night, before the maestro took the podium for Act One, Speight Jenkins addressed the crowd at McCaw Hall:

"It would be impossible to present Lucia di Lammermoor this week without noting the loss of Dame Joan Sutherland. The great Australian soprano, clearly the most famous Lucia of the last fifty years, passed away earlier this week. Ms. Sutherland had a strong connection to Seattle and told me how much she enjoyed our city. She appeared with Seattle Opera four times before I became General Director--in Le roi de Lahore, Don Giovanni, The Tales of Hoffmann, and Lakme. She was one of the unforgettable artists of the 20th century and certainly one of the greatest singers I ever heard. We dedicate this opening night performance of Lucia to her memory."

Here at McCaw Hall, as I post this, everyone is getting prepared for our second performance, featuring the Seattle debut of Davinia Rodríguez, who (like Aleksandra Kurzak last night) is making her role debut as Lucia. The world will miss Dame Joan, but the tradition continues.

A few photos of today's cast:

Davinia Rodríguez as Lucia

Scott Piper as Edgardo

Philip Cutlip as Enrico

Enrico (Philip Cutlip) threatens Lucia (Davinia Rodríguez) with what will become of their family if she refuses to wed Arturo

Edgardo (Scott Piper) demands of Lucia (Davinia Rodríguez) whether she really signed the marriage contract

Photos by Rozarii Lynch.

A Chat with Scott Goff

Before Lucia opens tonight, I had time to check in with our flute soloist, Scott Goff. Born in Panama City, Goff lived at various military posts until his family settled in Tacoma, Washington, upon his father’s retirement from the United States Army. Goff began playing flute at age twelve and studied with successive principal flutists of the Seattle Symphony. He has been principal flutist with the Seattle Symphony since 1969, and plans to retire at the end of this year.

Scott, you’ve been a professional flutist for fifty years. How many productions of Lucia di Lammermoor have you now played?
I’ve done this opera five times with Seattle Opera, which is (I think) all of them! I played it for Beverly Sills, who sang the role at Seattle Opera with Milton Katims conducting; and we once did the mad scene in concert, at Seattle Symphony, with Joan Sutherland.

Wow, what was that like, playing with Sutherland and with Sills?
Sills was perhaps a little closer to my heart, just because she was such a perfect musician. I think her technique was perhaps a little more instrumental. But how could anyone say no to Sutherland’s remarkable voice--its sheer size and quality, and her phenomenal technique, plus her range. Sills didn’t have the huge top that Sutherland had. Sutherland was probably the better voice for Lucia...although Sills sang the best “Marten aller Arten” from Abduction of the Seraglio I’ve ever heard. No one else ever even came close.

What’s your favorite opera?
My wife and I are real opera lovers. We’d much rather go to an opera than to the symphony! I think right now the thing I’m enjoying the most is probably Il trittico; there was a phenomenal production at the Met a few years ago. It’s one of the few operas I never got a chance to play. Puccini is at the top of my list. I also love Verdi, adore Il trovatore, particularly if you have the right kind of tenor. We also love listening to Don Pasquale.

Do you listen to Lucia when you’re not playing it?
Yes, the Sutherland is one of favorite recordings.

Is it difficult to get the flute solo in Lucia in sync with what’s happening onstage?
Not as long as the stage director doesn’t throw you a curve. I’m trying to remember which production it was--many years ago, when Lucia started her cadenza, her back was to me and the audience. For some dramatic effect she was way upstage, and it’s hard to do a duet with somebody who’s standing with their back to you, and fifty feet away! Fortunately Speight doesn’t let stage directors do silly things like that. In our current production she’s downstage practically the whole time. That makes it much much easier.

Aleksandra Kurzak sings Lucia's mad scene at Seattle Opera tonight (Rozarii Lynch, photo)

Where are you standing when you play the solo?
I stand on the podium, right next to the conductor, who helps me. It’s a bit crowded, but it’s necessary that I see her. That’s the way we’ve always done it here, I don’t know what they do elsewhere. That’s how we do the Siegfried horn call, too.

Are you reading the music, or do you have it memorized?
Yes, I use my music--I have a music stand up, on the podium.

Do you need to see the soprano breathing?
Yes, I certainly pay attention to when she’s going to take a breath--that triggers me that she’s about to start singing.

The soprano varies the color of her sound with a thousand different parameters. How do you achieve a variety of musical color on the flute?
You don’t, really. You can vary your vibrato, and of course your dynamics. If you’re asking about musical choices such as slurs, staccato/legato, etc., the phrasing is pretty much set. The way Aleksandra Kurzak, our Lucia tonight, shapes each phrase, she does it the same. She may have more freedom in terms of the staging, that may be different each night, but the musical choices stay the same.

Any advice you’d like to give to young flutists who hear the production?
Lots of luck!

Lucia di Lammermoor Preview Trailer

Follow Lucia's path to madness and murder - and get goose bumps along the way - as everything comes together in this trailer video. Beautiful music, exquisite costumes, detailed sets, big choruses, and passionate acting prove that this production has it all.

To learn more about Seattle Opera's production of Lucia di Lammermoor, visit the Seattle Opera website.

First Photos from LUCIA

Last night's first dress rehearsal of Lucia di Lammermoor promised a memorable production of this beloved opera.

Aleksandra Kurzak as the mad Lucia

Tomer Zvulun's production features Robert A. Dahlstrom's striking set, lit by Robert Wierzel and costumed by Deborah Trout

Lucia (Kurzak) is in love with Edgardo (William Burden), her family's enemy

Lucia's brother Enrico (Ljubomir Puškarić) conspires with his henchman Normanno (Eric Neuville) to destroy Lucia's faith in Edgardo...

...and the terror that follows drives Lucia (Kurzak) out
of her mind.

More great photos by Rozarii Lynch coming tomorrow!

A Chat with William Burden

With only a few days left before Lucia di Lammermoor opens at McCaw Hall, we spoke to our opening night Edgardo, tenor William Burden, and found out how he prepares for roles, what he thinks about his character, and how he's evolved since his Seattle Opera debut 10 years ago.

Seattle audiences last saw you creating a role in Amelia, and now you’re back in Seattle for Lucia. That’s a big shift, from premiering an opera to performing one that is so well known!
You'd think that there would be a significant difference between the preparation for a newly composed role and one that has long existed in the canon of operatic literature, but actually, as both roles were new to me, my preparation was virtually the same. The one difference is that there is plenty of reference (by way of recordings) for study when preparing a role from the standard rep. As I was originating the role of Dodge in Amelia, I had the privilege of creating the reference! That being said, since both Dodge and Edgardo were new roles for me, my initial preparation was the same: start with the rhythm and text, then the notes, then slowly put it all together with the help of my teacher and some great coaches (who help with musical style and accuracy). Once in Seattle, the process takes on new layers when I get to work with the director and my singing colleagues.

William Burden in Amelia

On a related note, how do you make a familiar character like Edgardo your own? Do you try to personalize the role?
Any time I'm taking on a new character, I have to find the ways that I can relate to him within the context of the story. I'm not sure that "personalizing" is what I'm after, but the character must seem real to me. The fun part is working with a director, conductor, and other singers to make sure we are telling a clear and exciting story.

In the Director’s Talk video for Lucia, we see a clip of you rehearsing with Aleksandra Kurzak. The two of you are in an embrace, and there is so much emotion in your face and in the movement of your body. How emotionally invested do you get in the characters you portray?
Okay - true confessions time. Performing is therapy for me. I can work out all sorts of stuff when I'm on stage playing someone other than myself! That being said, emotions like deep love and passion are easy. We all have experienced these, and in the hands of a gifted composer, the soundtrack just makes the playing even easier! When you develop trust with your colleagues through the rehearsal process, exploring the emotions of the characters is safe and thrilling and should be a window for the audience into the narrative.

One of the most dramatic moments in Lucia is when Edgardo becomes furious because he believes Lucia has betrayed him, and doesn’t give her much of an opportunity to explain. [Friday/Sunday Edgardo] Scott Piper said that moment shows that “Edgardo can be selfish, moody, and impetuous.” What do you think?
I would like to believe that I would react differently in the same situation, but one never knows. It is completely believable to me that Edgardo would behave exactly as he does. We have all acted before thinking (I do it daily, I fear), and the degree of hurt and humiliation he is experiencing (even if it's somewhat self-imposed) could make anyone lash out. Bottom line: it makes for good opera!

William Burden in Seattle Opera's 2000 Lakmé

This is your seventh production with Seattle Opera, going back to 2000 when you performed the role of Gerald in Lakmé. How have you felt your voice and your performance style evolving in the years and productions since then?
I'd like to think I have continued to grow with each production. I'm so grateful to Speight for taking the risks he has taken and for giving me the wonderful opportunities he has over these years. It is his confidence in me that has allowed me to do whatever growing I can lay claim to. Each role has posed new challenges and opportunities to explore my instrument and my stage craft, and the great colleagues at Seattle Opera have encouraged me to "up my game" with every outing!

What else do you have lined up for this season?
I have a bunch of new music to learn this year, some new opera and some concert works, along with some challenging twentieth-century opera by Britten and Henze. I’m grateful that it's a full year with lots to look forward to.

Photos by Rozarii Lynch and (Lakmé) Gary Smith.

A Chat with Valerie Muzzolini Gordon

Seattle Opera's upcoming performances of Lucia di Lammermoor will bring harpist Valerie Muzzolini Gordon’s 10-year Seattle career full circle. Her first season with the Seattle Symphony also involved the harp solo in Seattle Opera’s 2000 production of Lucia. A French native and new mom, Gordon spoke to Seattle Opera's Jessica Murphy about improvisation in opera, playing for babies, and her rapid-fire repertoire.

Your harp solo introduces the character of Lucia in Act I Scene Two. Traditionally, harpists don’t always play what’s printed in the score at this point in the opera. Why is this the case?
Lucia is not a ton of music for the harp, but it has this really major cadenza. Cadenzas in some operas can be very straightforward, and you just play them as is. But especially with Italian opera of that period, it’s a little bit more flexible. The same way, I believe, that the sopranos do some improvisation. There are several renditions of this cadenza by different composers, and some by harp composers.

If you only play in the first act, what do you do for the rest of the opera?
Especially now that I have a baby, I’ll just come home to her. Staying in the pit without disturbing anyone can be a little challenging. You don’t see what happens onstage and you have to be really quiet. In Parsifal, I only played in the beginning of the third act, but I love the music so much I stayed the whole time.

How did you decide that the harp was your instrument?
I started the harp when I was seven years old. My mom is a violinist, and she was on tour in an orchestra and the harpist was practicing before a concert. I was there and she put my fingers on the harp and that was it. I said, “That’s what I want to do.” That woman became my teacher for the next 11 years.

Could you give us a window into a typical work week?
The schedule is pretty hectic between the symphony and the opera. We work six days a week and between three and four performances each week. We only have Monday off (except four times a year when we have opera rehearsals).

I try to arrive an hour before each rehearsal, so I have time to tune and warm up before the rehearsal. Every week is a different repertoire, with up to three repertoires during the week. We may have a symphony concert and an opera rehearsal and a kiddie concert, for instance. On top of all the rehearsals I try to put in at least a couple hours of practice every day, but if I have five hours of rehearsal, it’s going to cut--physically--into my practice hours because my fingers can only take so much.

How far in advance do you start rehearsal for an opera?
We start the week before opening night, and we have at least five rehearsals. It’s a fast turnaround.

Your husband, David Gordon, is the principal trumpet for the symphony. With your schedules, childcare must be a nightmare!
Yes, writing down my nanny schedule is frighteningly hard.

Does your baby daughter let you practice?
She’s actually been pretty good. If I play a lot of really fast notes, then
she’ll turn around and watch. I can get in about 15 to 20 minutes, and I’m surprised I can get that much. I have colleagues whose kids start crying when they practice, so I count my blessings.

Could you tell me a little bit about your actual instrument?
I have two harps; the one I will probably play for Lucia is a golden Lyon & Healy. It belonged to my teacher at Curtis [Institute of Music], and when she passed away, both she and her husband had wanted me to have it.

Do you have a favorite opera?
I’m a big fan of Tosca. Playing it or hearing it.

Do some opera composers use the harp more than others?
Puccini was a big harp writer. There is a lot of harp music in most of his operas. Verdi wrote some, not a huge amount. Like Lucia, Dvorák’s Rusalka is introduced with a harp cadenza. Wagner used the harp thematically, the way he used all the instruments. It’s very much associated with the Rhine Daughters. Some composers steered away from the harp; Mozart has no harp in any of his operas.

What is on your music stand right now?
Some chamber music for a concert in New York and my music for the symphony and the opera, including Lucia.

Photo by Alan Alabastro.

This issue of Staff Chat will be featured in Seattle Opera's program for Lucia di Lammermoor. Look for archived Staff Chats on our WEBSITE.

Making LUCIA'S Park Scene

Seattle Opera's Scenic Studio Artists build a scrim for the scene at the fountain in Ravenswood Park, Act 1 Scene 2 of Lucia di Lammermoor. The sextet is sung here by Pavarotti, Cappuccilli, Anderson, Verrett, Sabbatini, and Giovanni Furlanetto. Video by Michael Moore, Seattle Opera Scenic Studios Manager.

In Memoriam: Joan Sutherland

Seattle Opera joins the rest of the world in paying respects to Dame Joan Sutherland--known to her fans as "La Stupenda"--who passed away last night at her home near Geneva.

Says General Director Speight Jenkins, "The voice of Joan Sutherland was unique in its combination of size and flexibility. She could have sung any repertory but chose, because of the wise advice of her husband Richard Bonynge, to concentrate on the lyric coloratura, bel canto area. When I first encountered her in staged opera, at her 1961 Dallas Lucia, she astonished me with the magnificence of her sound. My reaction never changed through the next quarter century. Never a great actress, she brought many characters into vivid life through vocal means alone. Her Lucia, Norma, and Gilda especially are unforgettable in their command and power. For sheer excitement the first night of her Elvira in I puritani, with Pavarotti as Arturo, at the Metropolitan ranks at near the top of my sixty-five years of opera going. She also made Amina in La Sonnambula a vocal treasure. She was also a delightful person, both funny and engagingly human. On stage she always seemed larger than life; offstage she was a person of great charm and simplicity."

Sutherland was one of the most celebrated sopranos of the 20th century, and in her four-decade career became known for her skill with the bel canto repertoire—especially Lucia di Lammermoor, which she recorded in 1961 for Decca. Later that same year, Sutherland made her Metropolitan Opera debut as Lucia, and wowed audiences. In today's New York Times obituary for Sutherland, Anthony Tommasini writes of her Met debut:

"Standees lined up beginning at 7:30 that morning. At Ms. Sutherland’s first appearance, before she sang a note, there was an enthusiastic ovation. Following the first half of Lucia’s 'Mad Scene' in the final act, which culminated in a glorious high E-flat, the ovation lasted five minutes. When she finished the scene and her crazed, dying Lucia collapsed to the stage floor, the ovation lasted 12 minutes."

Have a look at this video from the following year, showing Sutherland performing that famous mad scene:

Seattle Opera was fortunate enough to have Sutherland appear in several productions over the course of her illustrious career, beginning in 1967 as the title character in Lakmé. Here she is in photos from that production:


The following season she appeared as Donna Anna in Don Giovanni, and then in 1970/71 she sang all four heroines in Les contes d'Hoffmann. In the 1977, Sutherland performed her last role with Seattle Opera: Sita in Le roi de Lahore.

Feel free to share your thoughts of Sutherland in the comments. Did you ever get to see her perform?


Photos by Des Gates

LUCIA in Popular Culture

A week from Saturday, Seattle Opera opens its production of Donizetti’s tragedy Lucia di Lammermoor. One of the best-known bel canto operas, Lucia is a staple of the repertoire, with its star-crossed-lovers storyline, a stunning sextet, and one of opera’s most famous “mad scenes.” But even those unfamiliar with Lucia will notice that its music strikes familiar notes, thanks to the many TV shows and movies that have referenced it. From the slapstick comedy of the Three Stooges to the ripped-from-the-headlines drama of Law and Order, Lucia di Lammermoor can be found all around you!

(Diva "Plavalaguna" sings from the Lucia mad scene in the 1997 film The Fifth Element)

Perhaps the most commonly-heard piece of music in Lucia is “Chi mi frena in tal momento,” the beautiful sextet that accompanies the scene in which Edgardo discovers his beloved Lucia is marrying another. Despite lyrics of grief, guilt, and worry, the sextet sounds surprisingly pleasant, which is what made it a common inclusion in Warner Brothers cartoons, like the Bugs Bunny classic Long-Haired Hare, where Bugs and an opera singer battle it out, and the Jazz Singer homage I Love to Singa.

Disney also included the sextet in one of their shorts: 1946’s adorable The Whale Who Wanted to Sing at the Met. The cartoon’s song-happy whale impresses his audiences by belting out three of the Sextet’s six parts—all at once.

(Keep watching for a great Tristan und Isolde moment! Or, to watch The Whale Who Wanted to Sing at the Met from the very beginning, click HERE.)

Use of the Lucia sextet wasn’t limited to just animated comedy. The Three Stooges used it a couple times, first in the 1945 short Micro-Phonies and again in 1948’s Squareheads of the Round Table. In the former, the Stooges attempt to swindle their way to a $500 paycheck by dressing Curly up as soprano Señorita Cucaracha and having him—her?—lip-sync the Sextet at a private party. In the clip below, the Stooges sabotage another singer's performance before attempting their own (at the 2:12 mark).

In Squareheads, the Stooges are a trio of medieval troubadours, serenading the lovely Elaine from beneath her window. And instead of the Sextet’s original lyrics? “Oh Elaine, Elaine come out, babe, take a look who's standing here, right here!”

But while many shows and movies have included Lucia’s sextet, the most powerful references to the opera are those that remember its murderous context. In the original 1932 version of Scarface, the titular mobster (played by Paul Muni) whistles “Chi mi frena” before killing each of his enemies. Scarface’s unsettling combination of violent bloodshed and carefree whistling is shown for the first time in the film’s opening scene (beginning at 2:50), below:

And we can’t forget Lucia’s riveting mad scene, in which Lucia sings “Il dolce suono” after murdering her new husband. TV show Law and Order: Criminal Intent provided a particularly fitting setting for the aria in a 2006 opera-themed episode. (And, considering it’s nearly five years old, we hope you excuse us for giving away the plot twist!) After a diva, who is performing the role of Lucia, murders her violinist daughter between acts, she returns to the stage—in Lucia’s iconic blood-stained dress—for the mad scene:

These are just a few of many examples, so make sure to keep an ear perked, because you never know where Donizetti will pop up. It could be in a music video by a Russian pop star, a Bruce Willis film, or in the crazy world of Tim Burton. Or, better yet, at McCaw Hall, where Seattle Opera’s Lucia di Lammermoor will run through October 30.