[Met Performance] CID:1010
Metropolitan Opera Premiere
Lucia di Lammermoor {1} Metropolitan Opera House: 10/24/1883.

(Debuts: Marcella Sembrich, Giuseppe Kaschmann, Achille Augier, Amadeo Grazzi, Imogene Forti, Vincenzo Fornaris
Review)


Metropolitan Opera House
October 24, 1883
Metropolitan Opera Premiere


LUCIA DI LAMMERMOOR {1}
Donizetti-Cammarano

Lucia...................Marcella Sembrich [Debut]
Edgardo.................Italo Campanini
Enrico..................Giuseppe Kaschmann [Debut]
Raimondo................Achille Augier [Debut]
Normanno................Amadeo Grazzi [Debut]
Alisa...................Imogene Forti [Debut]
Arturo..................Vincenzo Fornaris [Debut]

Conductor...............Auguste Vianesi

Director................Mr. Corani
Director................Mr. Abbiati
Set Designer............Charles Fox, Jr.
Set Designer............William Schaeffer
Set Designer............Gaspar Maeder
Set Designer............Mr. Thompson
Costume Designer........D. Ascoli
Costume Designer........Henry Dazian

[The credits for Corani and Abbiati did not appear in company programs until December 3, 1883.
During her debut season, Sembrich wore costumes designed by Worth of Paris.]

Lucia di Lammermoor received ten performances this season.

Alternate title: Lucy of Lammermoor.


Review of W. J. Henderson in The New York Times.

DEBUT OF MARCELLA SEMBRICH AS LUCIA

No singer ever won the recognition of a New York audience more easily than Mme. Sembrich did. The very first note she uttered seemed to establish her in the favor of her hearers, and before the curtain had been lowered upon the first act the new prima donna's triumph was complete. The occasion, from a musical point of view, was one of much more interest than the opering night, for the singing of the principals was more satisfactory, and the chorus, with a better acquaintance with the auditorium, were heard to better advantage.

Mme. Sembrich's voice is a light soprano, and, to judge by her impersonation of Lucia, she has nothing to fear from the few popular rivals she now has. The new favorite's tones are singularly clear and brilliant, and she encompasses, without seeming effort, the highest notes in the music. In additon to this her execution is absolutely faultless, and she sings with a facility of expression and a perfection that are alike most gratifying to the sensitive listener.


Review of Henry Krehbiel, New York Tribune.

Mme. Sembrich is a lovely singer - lovely of person, of address, of voice; and her artistic acquirements, in the limited field in which Donizetti's opera called them into activity, at least, are of the highest rank. Her style is exquisite, and plainly the outgrowth of a thoroughly musical nature. It unites some of the highest elements of art. Such reposefulness of manner, such smoothness and facility in execution, such perfect balance of tone and refinement of expression can be found only in one richly endowed with deep musical feeling and ripe artisitic intelligence. She carries her voice wonderfully well throughout a wide register, and from her lowest note to her hightest there is the same quality of tone. It is a voice of fine texture, too; it has a velvety softness, yet is brilliant; and though not magnetic in the same degree as the voices of other singers still before the public, it has a fine, sympathetic vein. It wakens echoes of Mme. Patti's organ, but has a warmer life-blood in it.



Photograph of Marcella Sembrich as Lucia di Lammermoor by Mora.



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