Opera guides
Lucia di Lammermoor: synopsis, roles, arias and diction notes
Donizetti's Lucia di Lammermoor: premiere cast, voice types, synopsis by act, the mad scene and other famous arias with first lines, and Italian diction notes.
By Diction Desk editors · Published · Updated · Checked against 8 sources
Lucia di Lammermoor is an opera by Gaetano Donizetti to an Italian libretto by Salvadore Cammarano, loosely based on Walter Scott's 1819 novel The Bride of Lammermoor1. It premiered on 26 September 1835 at the Teatro di San Carlo in Naples1. Its mad scene, Il dolce suono, has historically been a vehicle for several coloratura sopranos1,2.
- Composer
- Gaetano Donizetti1
- Librettist
- Salvadore Cammarano1
- Premiere
- 26 September 1835, Teatro di San Carlo, Naples1
- Language
- Italian1
- Source
- Walter Scott's 1819 novel The Bride of Lammermoor1
- Setting
- Lammermuir Hills, Scotland, 17th century1
Contents
Lucia di Lammermoor is a tragedy of two feuding families, set in Scotland1. Donizetti wrote it at the peak of his reputation, and the role of Lucia asks for an exceptional degree of virtuosity1,8. This guide covers the roles, the synopsis by act, the arias and the mad scene; more guides are in the operas section.
Origins and composition
Salvadore Cammarano wrote the Italian-language libretto, loosely based on Walter Scott’s 1819 historical novel The Bride of Lammermoor1. Donizetti’s Lucia is the seventh operatic version of that novel3. The novel itself is based on an actual incident in Galloway in 1669, which Scott moved to the Lammermuir Hills1. In the novel the villain is Lucy’s mother, Lady Ashton, not her brother Enrico1. Edgar does not take his own life with a stiletto in the novel, as Edgardo does in the opera1. The opera’s descent into madness is also faster and more dramatic than Scott’s1.
The opera premiered on 26 September 1835 at the Teatro di San Carlo in Naples1,3. Rossini had recently retired and Bellini had died shortly before the premiere1. Donizetti was reaching the peak of his reputation as an opera composer1. The work is a dramma tragico (tragic opera) in three acts1. The setting is the Lammermuir Hills of Scotland in the 17th century1.
The score gives Parte Prima the subtitle “La Partenza” (The Parting) and Parte Seconda the subtitle “Il Contratto Nuziale” (The Wedding Contract)3. Those two parts hold the three acts that the synopsis below follows3,8. Cammarano gave Donizetti six other librettos, including those for Roberto Devereux and Poliuto, and he later wrote three librettos for Verdi3.
Roles and voice types
Lucia is a soprano, and the role of Lucia requires an exceptional degree of virtuosity1,8.
| Role | Voice type | Character | Premiere singer |
|---|---|---|---|
| Lucia (Lucy Ashton) | Soprano | Caught in a feud between her family and the Ravenswoods1 | Fanny Tacchinardi Persiani1 |
| Enrico Ashton | Baritone | Lord of Lammermoor, Lucia’s brother1 | Domenico Cosselli1 |
| Edgardo di Ravenswood | Tenor | Leader of the Ashtons’ political enemies4 | Gilbert Duprez1 |
| Raimondo Bidebent | Bass | A Calvinist chaplain1 | Carlo Ottolini Porto1 |
| Alisa | Mezzo-soprano | Lucia’s handmaid1 | Teresa Zappucci1 |
| Lord Arturo Bucklaw | Tenor | Lucia’s bridegroom1,4 | Balestrieri1 |
| Normanno | Tenor | A huntsman and retainer of Enrico1 | Anafesto Rossi1 |
Synopsis
The setting is Scotland in the 17th century1. Cammarano’s tragedy follows a woman caught in a feud between her own family and that of the Ravenswoods1.
Act 1
An intruder is spotted at night on the grounds of Lammermoor Castle, home of Enrico Ashton4. Enrico’s fortunes depend on the arranged marriage of his sister Lucia with Lord Arturo4. Normanno, captain of the castle guard, and other retainers search for the intruder, who proves to be Edgardo1. Enrico reaffirms his hatred for the Ravenswood family and his determination to end the relationship1. Normanno orders his henchmen to discover who Lucia is secretly meeting each day before dawn7. He reveals that Lucia is concealing a great love for Edgardo di Ravenswood, leader of the Ashtons’ political enemies4.
Lucia waits at the fountain, whose legend of a bloody phantom both fascinates and repels her7. In her aria Regnava nel silenzio, she tells her maid Alisa that she has seen the ghost of a girl stabbed by her jealous lover1,4. Alisa tells Lucia that the apparition is a warning and that she must give up her love for Edgardo1.
Edgardo enters; for political reasons he must leave immediately for France1. He tells Lucia that before departing he wants to ask Enrico for her hand, and terrified of her brother’s reaction, Lucia begs him not to7. Lucia tells him this is impossible, and instead they take a sworn vow of marriage1. They exchange rings and vows of devotion4.
Act 2
Enrico shows his sister a forged letter seemingly proving that Edgardo has forgotten her and taken a new lover1. Lucia remains obstinate even when the letter announces his marriage to another woman7. Enrico explains her distress as the result of her mother’s death1. Raimondo urges her to renounce her vow to Edgardo, for the good of the family, and marry Arturo1. At his fervent pleading, the exhausted Lucia gives in7.
At the signing, Edgardo suddenly appears in the hall, which leads to the celebrated sextet Chi mi frena in tal momento1. He demands that they return their rings to each other and curses her1. On seeing the contract with Lucia’s signature, he curses her and her family forever7.
Act 3
Enrico arrives at night in a tower of Edgardo’s gloomy castle to challenge him to a duel the next morning7. He tells Edgardo that Lucia is already enjoying her bridal bed1. Edgardo imagines Lucia’s happiness with Arturo and berates her for her infidelity7.
Raimondo interrupts the marriage celebrations to tell the guests that Lucia has gone mad and killed her bridegroom Arturo1. In the mad scene, Act 3, Scene 2, she imagines being with Edgardo, soon to be happily married1. Enrico enters and at first threatens Lucia, but softens when he realizes her condition1. Raimondo blames Normanno for precipitating the whole tragedy1.
Raimondo then tells Edgardo that Lucia has already died1. Edgardo resolves to kill himself on Enrico’s sword, and he stabs himself with a dagger, hoping to be reunited with Lucia in heaven1,7.
Scene guide
Use this table to find the scene a number belongs to before you pull the score.
| Act and scene | What happens | Number |
|---|---|---|
| Act 1, Scene 1 | Normanno and the retainers hunt for an intruder; Enrico reaffirms his hatred of the Ravenswoods1 | |
| Act 1, Scene 2 | Lucia tells Alisa of the ghost at the fountain; Edgardo must leave for France, and the lovers exchange rings1 | Regnava nel silenzio1 |
| Act 2, Scene 1 | Enrico shows Lucia the forged letter; Raimondo urges her to marry Arturo1 | |
| Act 2, Scene 2 | Edgardo appears at the signing and curses Lucia; Enrico explains her distress as the result of her mother’s death1 | Chi mi frena in tal momento1 |
| Act 3, Scene 1 | Enrico challenges Edgardo to a duel and tells him that Lucia is already enjoying her bridal bed1 | |
| Act 3, Scene 2 | Raimondo announces that Lucia has killed Arturo and blames Normanno for the tragedy; Lucia sings the mad scene, and Enrico threatens her until he realizes her condition1 | Il dolce suono, Spargi d’amaro pianto1 |
| Act 3, Scene 3 | Raimondo tells Edgardo that Lucia has died; Edgardo stabs himself1 |
The famous arias
| Number | Character | Act | Type |
|---|---|---|---|
| Regnava nel silenzio | Lucia | Act 12 | Soprano aria2 |
| Quando rapito in estasi | Lucia | Act 12 | Soprano aria, second part of her Act 1 scene2 |
| Chi mi frena in tal momento (sextet) | Ensemble | Act 2, closing the act1 | Sextet1 |
| Il dolce suono (mad scene) | Lucia | Act 3, Scene 21 | Soprano aria2 |
| Spargi d’amaro pianto (cabaletta) | Lucia | Act 3, Scene 21 | Cabaletta1 |
| Ardon gli incensi | Lucia | Act 32 | Soprano aria2 |
| Tombe degli avi miei | Edgardo | Act 32 | Tenor aria2 |
The mad scene opens with Oh, giusto cielo!… Il dolce suono, and the more lyrical Il dolce suono is followed by the cabaletta Spargi d’amaro pianto1. Regnava nel silenzio and Quando rapito in estasi are the two parts, numbered 1.08-1 and 1.08-2, of one Act 1 number2. The mad scene has historically been a vehicle for several coloratura sopranos1. The sextet at the end of Act 2 is one of opera’s most well-known dramatic scenes8. In the Wikipedia numbering of the score, the sextet is number 23 and the mad scene opens at number 301.
Cammarano died on 17 July 1852, so his text is in the public domain5. Here are lines in the original, each with our own plain translation:
| Original | Our translation |
|---|---|
| Regnava nel silenzio2 | Silence was reigning |
| Quando rapito in estasi1 | When, swept up in rapture |
| Ah! Verranno a te sull’aure1 | Ah! They will reach you on the breeze |
| Chi mi frena in tal momento1 | Who holds me back in such a moment |
| Oh, giusto cielo!… Il dolce suono1 | Oh, just heaven!… The sweet sound |
| Tombe degli avi miei2 | Tombs of my ancestors |
How do you pronounce “Lucia di Lammermoor”?
In Italian the title is pronounced [luˈtʃiːa di ˈlammermur]1. Lammermoor is the Italian spelling for the Lammermuir Hills of Scotland, where the story is set1.
The French version, Lucie
The French version, Lucie, changes the cast1. One of the more notable changes is the disappearance of Alisa, Lucia’s handmaid and confidante1. Without Alisa, Lucia is more isolated, and that increases the emotional impact1. Donizetti also added a new character, Gilbert, who is loosely based on the huntsman in the Italian version1.
Mad scene and orchestration
The original scoring of the mad scene was for glass harmonica and soprano1. Per Donizetti’s original score, a glass harmonica is substituted for solo flute in Lucia’s mad scene1. A glass harmonica was initially chosen for its reputed effect on listeners’ nerves8. The first flute has a very elaborate solo role in the mad scene3.
The popular soprano and flute duet cadenza was composed in 1888 by Mathilde Marchesi1. Donizetti originally wrote the cabaletta in F major1. An off-stage wind band is used in the opera, and Donizetti did not provide instrumentation for it1. Charles Mackerras returned to Donizetti’s autograph score and prepared a new edition1.
Performance history and recordings
Naples saw 18 performances in the rest of 1835, but only four in 18361. London saw the opera on 5 April 1838, and it reached the United States with a New Orleans production on 28 May 18411. The Metropolitan Opera never kept Lucia out of its repertory for more than one season at a time from 1903 until 19721.
Maria Callas sang Lucia in Mexico City in 1952, and Joan Sutherland sang it at Covent Garden in 19598. Callas also gave performances from 1954 at La Scala1.
Lucia has received over twenty commercial studio recordings, and the earliest complete recording was made in 19291. In 2002, Chandos Records released the English version with David Parry conducting and Elizabeth Futral as Lucia1.
The mad scene appears in popular culture: Ingrid Bergman rehearses it in the film Gaslight (1944), and Emma Bovary sees Lucia in Rouen with her husband Charles in Flaubert’s novel8. Il dolce suono is mentioned in E. M. Forster’s Where Angels Fear to Tread1. The Act 2 sextet features prominently in Scorsese’s film The Departed1. Director David Alden set the opera in the Victorian era, drawing on Brian De Palma’s Carrie for the mad scene8.
Background
Donizetti was born on 29 November 1797 and died on 8 April 18486. He was best known for his more than 70 operas6. Cammarano, an Italian librettist and playwright, lived from 19 March 1801 to 17 July 18525.
Language and diction notes
The libretto is in Italian1, so the rules in Italian diction for singers apply throughout.
Further reading: Utah Symphony | Utah Opera, Opera Philadelphia and San Francisco Opera.
Where to go next
Two more Italian scores to study are La traviata and L’elisir d’amore, Donizetti’s comedy. For transcription practice, see IPA for singers.
