Andrew Altenbach writes:
"I think I speak for all the cast and staff of the opera by offering up our profound admiration to the Trattoria Centrale restaurant in downtown. Unbelievable food and coffee - wine wasn't half bad either! The guys who run it really know their stuff and were always appreciative to us for eating there frequently between rehearsals. I think all the principals and staff especially have fond memories of eating there while Corey McKern explained directing techniques used by Italian directors to American and/or Chinese cast members. Of course, if you want the full story, though, talk to Corey...."
Kathleen Clawson writes:
"I love tech week! It is such a joy to see all the elements come together. As we approach the evening of final dress rehearsal for Lucia di Lammermoor I wanted to share a few thoughts about the inspiration for the opera and for our production. Lucia is the jewel in Gaetano Donizetti’s crown of brilliant bel canto opera’s. Its story, of two lovers torn apart by their feuding families, was based on the novel The Bride of Lammermoor by Sir Walter Scott. Scott was a novelist, playwright and poet. He was wildly popular during his own lifetime and his novels, which were read worldwide, created a great interest in all things Scottish, including history and dress. He based his novel on an actual case of two lovers in the Lammermuir Hills in 1668. Janet Dalrymple was forced to marry David Dunbar while secretly engaged to a Lord Rutherford. She attacked her bridegroom with a knife and was found cowering in her room, mad, while her husband lay on their bed in a pool of blood. Although Scott used many of the real details, he changed names, the locale, and brought the time forward to the early 18th century. In the novel, Lucy is described as “pale, guileless, and docile to a fault…an angel descended on earth, unallied to the coarser mortals among whom she deigned to dwell.” Her beloved, Edgar is proud and melancholic, and in true Gothic style, is a pawn of larger forces.
Chatting with our scenic designer, Peter Crompton during tech rehearsals, I learned that he used Sir Walter Scott’s mansion, Abbotsford, and the Scottish countryside as inspiration for his set design. The archways, a great stone crag, stained-glass windows and a fountain with Scott’s crest, were all inspired by actual places. He gladly allowed me to share his research with us! Enjoy this taste of Scotland and see you at the opera!"
