. The Victrola book of the opera : stories of one hundred and twenty operas with seven-hundred illustrations and descriptions of twelve-hundred Victor opera records . 249 (Italian) LUCIA DI LAMMERMOOR (Loo-chee-ah dee Lah-mair-moor) (English) LUCY OF LAMMERMOOR OPERA IN THREE ACTS Text by Salvator Cammerano, derived from Scotts novel, The Bride of by Gaetano Donizetti. First production at Naples, September 26, 1835. Performedin London, at Her Majestys, April 5, 1838; Paris, 1839; New Orleans, December 28, 1841;New York, in English, at the Park Theatre, November 17, 1845; and i
. The Victrola book of the opera : stories of one hundred and twenty operas with seven-hundred illustrations and descriptions of twelve-hundred Victor opera records . 249 (Italian) LUCIA DI LAMMERMOOR (Loo-chee-ah dee Lah-mair-moor) (English) LUCY OF LAMMERMOOR OPERA IN THREE ACTS Text by Salvator Cammerano, derived from Scotts novel, The Bride of by Gaetano Donizetti. First production at Naples, September 26, 1835. Performedin London, at Her Majestys, April 5, 1838; Paris, 1839; New Orleans, December 28, 1841;New York, in English, at the Park Theatre, November 17, 1845; and in Italian, November 14,1849. Notable revivals occurred April 7, 1890, at the Metropolitan, with Patti; April 26, 1894, at the Metropolitan, with Melba; November 20, 1900,American Theatre, with Yvonne de Treville. Characters HENRY ASHTON, of Lammermoor Baritone LUCY, his sister Soprano SIR EDGAR, of Ravenswood Tenor LORD ARTHUR BUCKLAW Tenor RAYMOND, chaplain to Lord Ashton Bass ALICE, companion to Lucy Mezzo-Soprano NORMAN, Captain of the Guard at Ravenswood. Tenor Ladies and Knights related to the Ashtons; Pages,Soldiery, and Domestics in the Ashton Scene and Period: The action tal^es place in Scotland, closeof the sixteenth century. PATTI AS LUCIA IN 1860 The prolific Donizetti (1797-1848) wrote no fewerthan sixty-three operas, the most popular of thesebeing, of course, Lucia di Lammermoor. It has longbeen the custom with a certain class of critics to rundown the old Italian school of opera represented byLucia, and talk about the artificiality of the music, thinness of the orchestration, etc. Butthe public in general pays very little attention to these opinions, because they love themusic of Lucia, as their grandfathers did, and realize that throughout the whole work thereruns a current of tenderness and passion, expressed in simple melody that will ever appealto the heart. Let us now forget the critics and tell the simple and sorrowful story, and listen to themelodi
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Keywords: ., bookcentury1900, bookdecade1910, bookidvictrol, booksubjectoperas
