Opera in three acts
Composer Gaetano Donizetti · Libretto by Salvatore Cammarano after Walter Scott's novel "The Bride of Lammermoor"
In Italian with German surtitles
Sunday, 08. February 2015
Duration 3 hours and 5 minutes · Interval after the 2nd act (est. 7:30 PM - 8 PM)
Introductory Event: 05:00 PM
Open ticket sales. The number of tickets per customer is reduced to two.
Premiere at 26. January 2015
This performance will be broadcasted live via the internet as part of Staatsoper.TV.Download Cast List (PDF) To List of Performances
Dates & Tickets
- Musikalische Leitung
- Kirill Petrenko
- Barbara Wysocka
- Barbara Hanicka
- Julia Kornacka
- Rainer Casper
- Daniel Menne, Malte Krasting
- Stellario Fagone
- Andergrand Media + Spektakle
- Lord Enrico Ashton
- Dalibor Jenis
- Lucia Ashton
- Diana Damrau
- Sir Edgardo di Ravenswood
- Pavol Breslik
- Lord Arturo Bucklaw
- Emanuele D'Aguanno
- Raimondo Bidebent
- Georg Zeppenfeld
- Rachael Wilson
- Dean Power
- Bayerisches Staatsorchester
- Chorus of the Bayerische Staatsoper
Media CentreTo List of Performances
“When great emotions cannot be truthfully expressed, they explode with the power of an atom bomb” (Barbara Wysocka). Donizetti’s Lucia di Lammermoor - the Romeo and Juliet of the Scottish Lowlands so to speak - is far from being a private tragic love story. Rather, it is above all a political tale, which shows how a totalitarian system distorts human relationships at their very core and finally consumes them. The development and extinguishing of unrequited love has provided Donizetti with his most haunting music. Revenge is bloody; madness deadly. And the agony of emotions - according to the Director - “destroys everything and everyone.”
The two noble families of Ravenswood and Ashton have been sworn enemies for a long time. The last of the Ravenswoods, Edgardo, has vowed to have his revenge on Enrico Ashton, whom he holds responsible for the death of his father and the loss of the family home. Meanwhile, however, the Ashtons’ fortunes have also taken a turn for the worse. Enrico can see only one way to retain the family’s political power and wealth and save the Ashton dynasty from ruin: his sister Lucia must marry Lord Arturo Bucklaw. Lucia herself, however, will have nothing to do with this plan. She has fallen in love with Edgardo of all people, who saved her life when she was attacked by a wild bull. Before Edgardo, who returns Lucia’s love, leaves on a mission abroad, the two of them swear they will be eternally faithful.
Lucia’s continued refusal to marry Arturo puts Enrico in a difficult position. He therefore orders Normanno to intercept the letters which Lucia and Edgardo write to each other and to forge a document which would seem to suggest that Edgardo had been unfaithful. Lucia is filled with consternation at the sight of this letter. But only when her tutor, Raimondo, urges her to consent and persuades her that her oath of fidelity to Edgardo is not valid any way as it was not confirmed by a priest does she agree, with resignation, to marry Arturo. Shortly after she has signed the marriage contract, Edgardo returns, to everyone’s surprise. Lucia’s signature is for him such a strong proof of her unfaithfulness that he curses Lucia and the whole of the Ashton family. Lucia collapses.
In order to destroy his deadly enemy at last, Enrico calls on Edgardo the same evening to challenge him to a duel the next morning. Lucia kills Arturo on her wedding night and in her hallucination believes that she and her beloved Edgardo are to be married. The shattered state of her mind weakens her vitality. When Edgardo learns of Lucia’s madness and hears her death knell he kills himself.
Kirill Petrenko was born in Omsk in 1972 where he studied piano at the College of Music. At the age of eleven he gave his first public performance as a pianist with the Omsk Symphony Orchestra. In 1990 his family (his father a violinist and his mother a musicologist) relocated to Vorarlberg where his father worked as an orchestra musician and music teacher. Petrenko first continued his studies in Feldkirch before moving to Vienna to study conducting at the Academy of Music and Performing Arts.
His first job after graduation took him directly to the Vienna Volksoper where he was hired by Nikolaus Bachler as Kapellmeister. From 1999 until 2002 Kirill Petrenko was General Music Director at the Meininger Theater. It was in 2001 in his role as conductor of Wagner's Der Ring des Nibelungen, in the production by Christine Mielitz and with scenery by Alfred Hrdlicka, that he first achieved international acclaim. In 2002 Kirill Petrenko became General Music Director of the Komische Oper Berlin where, until 2007, he was credited with a series of highly significant productions.
During his time in Meiningen and Berlin his international career also began to flourish. In 2000 Kirill Petrenko made his debut at the Maggio Musicale Fiorentino, in 2001 at the Vienna Staatsoper and the Dresden Semperoper, in 2003 at the Gran Teatre del Liceu in Barcelona, the Opéra National de Paris, the Royal Opera House Covent Garden in London, the Bayerische Staatsoper, the New York Metropolitan Opera and in 2005 at the Oper Frankfurt. In Lyon, in collaboration with Peter Stein, he conducted all three Pushkin-inspired operas by Tchaikovsky (Mazeppa, Eugene Onegin and Pique Dame) from 2006 until 2008, which were also performed as a cycle in early 2010.
After moving on from the Komische Oper Berlin Kirill Petrenko worked as a freelance conductor. During this period his projects included conducting a new production of Leoš Janáček's Jenůfa (Production: Barbara Frey) at the Bayerische Staatsoper in 2009. In Frankfurt he conducted Pfitzner's Palestrina (Production: Harry Kupfer) and Puccini's Tosca (Production: Andreas Kriegenburg). In 2011 he worked on two new productions of Tristan and Isolde at the Opéra National de Lyon and at the Ruhrtriennale.
To date, the most important orchestras Kirill Petrenko has been invited to conduct include the Berlin Philharmonic, the Dresden Staatskapelle, the BR Symphony Orchestra, the Bayerische Staatsorchester, the WDR Cologne Symphony Orchestra, the Hamburg Philharmonic and the NDR Hamburg Symphony Orchestra, the Frankfurt Opern- und Museumsorchester, the Amsterdam Concertgebouworkest, the Vienna Radio Symphony Orchestra, the Vienna Symphony, the Cleveland Orchestra, the Chicago Symphony Orchestra, the London Philharmonic Orchestra, the Oslo Philharmonic Orchestra, the Santa Cecilia Orchestra in Rome, the RAI National Symphony Orchestra in Turin and the Israel Philharmonic Orchestra. Kirill Petrenko has also conducted concerts at the Bregenz and Salzburg Festivals. From 2013 to 2015 he swung his baton for the new production of Richard Wagner's Der Ring des Nibelungen during the Bayreuth Festival.
Since September 2013 Kirill Petrenko has been General Music Director at the Bayerische Staatsoper. He will be working in this position until the end of the 2019/20 season. Since 2013, he has taken to the rostrum for premieres of Die Frau ohne Schatten, La clemenza di Tito, Die Soldaten, Lucia di Lammermoor and Lulu as well as a revival of Wagner's Der Ring des Nibelungen among other works. In June 2015, Kirill Petrenko was named future Chief Conductor of the Berlin Philharmonic, starting this position in autumn 2019.
In the current season at the Bayerische Staatsoper Kirill Petrenko led the world premiere of Miroslav Srnka's South Pole, next up is a new production of Wagner's Die Meistersinger von Nürnberg in May 2016. Furthermore, Kirill Petrenko conducts revivals of Lulu, Tosca, Ariadne auf Naxos, Die Fledermaus and Der Rosenkavalier, as well as three Academy Concerts with the Bayerische Staatsorchester.