Richard Bonynge, Joan Sutherland, Luciano Pavarotti, Covent Garden Chorus and Orchestra of the Royal Opera House, Sherrill Milnes, Nicolai Ghiaurov, Ryland Davies, Pier Francesco Poli, composer: Gaetano Donizetti, conductor: Richard Bonynge - Donizetti - Lucia di Lammermoor / Sutherland A· Pavarotti A· Milnes A· Ghiaurov A· ROH Covent Garden A· Bonynge

This was Joan Sutherland's second recording of Lucia, made with an all-star cast in prime vocal condition, and it is a must for those who believe that bel canto opera should live up to its descriptive title: "beautiful singing." In the 10 years since her first Lucia recording, she had settled more comfortably into the character and become even more expert in the music. Her costars are among the greatest singers of our time, a point that is particularly important in the ensemble singing. Maria Callas is more dramatic, and her Lucia is a must for Callas fans, but this set is a joyful celebration of the glory of the human voice. In purely musical terms it is the best-sung Lucia on record. --Joe McLellan Amazon.com essential recording

It is just impossible to overlook this record.

What Pavarotti does here is totally amazing. For me, the highest point of the opera is "Tombe degli avi miei" and "Fra poco a me ricovero". It is a riveting scene, when Edgardo sings next to the tomb of his ancestors his love and inevitable sacrifice to Lucia, who, unknown to him, was already dead. Sutherland is a joy to hear too. Pavarotti and Sutherland made various records together for Decca in the 70s and this one is by far the best of the lot. August 25, 2008

A splendid version of Lucia

This is probably one of the top versions of Lucia di Lammermoor, one of Donizetti's greatest works. The cast displays such stalwarts as Sherrill Milnes, Nicolai Ghiarov, Luciano Pavarotti, and--of course--Joan Sutherland. Richard Bonynge did much background research to create a Lucia more consistent with the composer's vision of the opera; he also conducted.

Some representative segments of the opera. . . .

A very nice ensemble scene, "Cruda, funesta smania," features lively singing. Sherrill Milnes' rich voice is well displayed. The ensemble sings with great spirit.

A nice aria, "Regnava nel silenzio" is followed by a wonderful cabaletta, "Quando, rapito in estasi." This is one of Joan Sutherland's signature pieces. Here, she is at the "top of her game." The aria is smoothly sung. She shows agility and some nice trills. Although her voice is heavier than some other coloratura sopranos, she is most effective and deploys excellent technique and skills. In the cabaletta, she displays nice florid singing the first time through, replete with some nice trills. She also has some fine runs and hits a series of high notes with ease. On the repeat, she sings a trill off a high note (nicely done although not perfectly done). Her technique is excellent and she hits the final high note with ease.

"Chi me frena in tal momento" is one of the all time great ensemble pieces in opera. Pavarotti's rich and youthful voice sounds splendid. Sutherland's voice soars above the ensemble. All manner of emotions and thoughts are displayed by the various singers. The voices meld well together for an effective ensemble "feel."

One of the top cabalettas in all of opera has to be "Spargi d'amaro pianto." Sutherland sings it well and cleanly. The first time through, her voice and technique are rock solid. She shows off some nice trills and some well executed runs. The repeat is iconic. Good technique, a trill off of a high note, and a well executed final high note. All in all, Dame Joan sparkles.

This is one of the top versions of "Lucia di Lammermoor," and it stands up well after the intervening decades.
March 24, 2007

A Colassal Lucia

Sutherland's first recording of Lucia was terrific but the second beats it on all counts.The supporting cast is superb. Pavarotti in his youth singing a very stylish Edgardo. Ghiaurov brings his beautiful voice to the bass role. Sherril Milnes is wonderfully evil as Enrico and his Act 1 duet with Sutherland is sensational. As for Sutherland she is generally superior here to her first recording, with the exception of her first act aria. The famous high notes are here in their glory; the high D at the end of the first act and the E flat at the end of the mad scene are among her best on record. Her interpretation has deepened, especially during the mad scene. At the point where "Alfin Son Tua" begins to the point of the flute duet, she delivers some of the most moving singing I have ever heard - reaching a heartbreaking level that I normally asoociate with a Billie Holiday not an opera singer. In conclusion this is one of Bonynge's better conductiong jobs and the RHO orchestra and chorus are excellent. The sound quality is very good. January 8, 2007

"Stupendous" but...

As someone who is a relative newcomer to opera, although I find Dame Joan's sound and coloratura breathtaking, it was Callas's perfomance that really drew me into this story and made it a more cohesive allround experience for me. And I think I can say this of their Normas as well. That being said this is an amazing perfomance and "Chi Mi Frena" sounds exquisite with all these marvelous singers joining their talents.
Ultimately I love both the Divas for very different reasons, but if you need to be drawn in by the plot of an opera, no one nails characterization like Callas, utterly rivetting and convincing and I might add vocally beautiful as well. May 15, 2006

A Powerhouse Lucia

I purchased this recording just recently, and I'm certainly glad I did. Sutherland sings a glorious Lucia, having no problem whatsoever with all the coloratura runs and clarion high notes. I'm getting tired of listening to people talk about how poor her diction was. Does it really matter if she took the time to enunciate every last little detail of a word? She is one of the best singers the bel canto repertoire has ever seen and she has a beautiful, large, rich voice. And it's not as if the majority of Opera listeners can understand the words anyway. Just listen to the beautiful singing and be happy (and besides, her diction wasn't as bad as people make it out to be.) Anyway, Pavarotti is his usual glorious self, and his powerful and beautiful singing here would make one want to swoon.He always excelled at the bel canto roles and all the bravura passages that they held. Milnes probably has one of the most enormous voices ever. One example of this is in one of his duets with Sutherland where he ends the duet with a full throated High A (a note that even some tenors find taxing). By the way, Sutherland launches a stunning High E at the end of that duet as well. Ghiaurov has a beautiful, melodious bass voice. Huguette Torangeau has an extremely beautiful Mezzo voice. I'm surprised she wasn't more well known. Her voice has an utterly beautiful tone quality, a lovely vibrato, and a nice even range. So if you want to hear some truly "Bel canto", beautiful singing, then buy this set. May 13, 2006

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