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Lucia di Lammermoor: Dark, claustrophobic, and highly enjoyable!

Hear what critics and audiences are saying about the Canadian Opera Company's production of Donizetti's Lucia di Lammermoor, starring Anna Christy, Stephen Costello, Brian Mulligan, Oren Gradus, Nathaniel Peake, Adam Luther and Sasha Djihanian.


  1. Watch some scenes from the opera that has everybody talking!
  2. Scenes from Lucia di Lammermoor
  3. Lucia di Lammermoor, 2013
    Lucia di Lammermoor, 2013
  4. "Anna Christy is an outstanding Lucia. In creating this production for her, it's clear that Alden focuses on her petite and girlish appearance. She seems fragile from the start, both physically and mentally, and still plays with dolls suggesting that she has just entered puberty... Her vulnerability combined with the precision and power of her coloratura wins us over right from the start." 
    - Christopher Hoile, Stage Door
  5. "I had nothing but admiration for Anna Christy’s Lucia, not just for the pain she endured in the evening’s first half, but for the way she turned her legendary mad scene into a piece of searing dramatic emotion, rather than a mere display of extraordinary vocal technique (which Christy also possesses.)" - Richard Ouzounian, Toronto Star
  6. Simply put, she is stunning and delivers a pitch-perfect Lucia. The slight, girlish soprano is often picked up and tossed around like a rag doll by the men in Lucia’s life. Christy is spellbinding, perfectly channeling both Lucia’s innocent naïvete and her terrifying, seething intensity during the famous mad scene. Her expressive coloratura is the vocal highlight of the performance." 
    - Wayne Leung, Mooney on Theatre
  7. Lucia di Lammermoor, 2013
    Lucia di Lammermoor, 2013
  8. "Kilted and sword-bearing Stephen Costello brings fine energy, excellent timbre and a flexible bel canto voice capable of great agility to his role as Edgardo, Lucia’s ardent, faithful-but-fickle Highlander lover. His final aria (before his ostensible suicide) flared with passion." - Stanley Fefferman, Bachtrack
  9. "Christy’s voice pairs beautifully in duets with Stephen Costello’s bright, youthful tenor. As Lucia’s lover Edgardo, Costello brings a fiery passion to the character and especially shines in Edgardo’s heartbreaking aria in Act III." - Wayne Leung, Mooney on Theatre
  10. "Stephen Costello’s Edgardo is another masterful performance, eschewing the standard romantic tenor for something rugged and more convincing. A bit of Glaswegian steampunk in his costume and a voice that rang out time and time again with purity and passion made for an unbeatable combination." - Richard Ouzounian, Toronto Star
  11. Lucia di Lammermoor, 2013
    Lucia di Lammermoor, 2013
  12. "But the real dramatic power on stage emanated, however, from Brian Mulligan’s Enrico, Lucia’s brother who hates Edgardo, and sets up her eventually disastrous marriage to Arturo who he thinks will solidify the Lammermoor fortunes. Mulligan was ferocious, angry, intense and captivating all night. A man a little too attached to his sister, as Alden seems to suggest, Mulligan never let his stage business detract from the inherent drama of his role." - Robert Harris, The Globe and Mail
  13. Mr. Mulligan is especially vile with his lurking presence and uncomfortable expressions but his voice - though representing the essence of vile - is like a dark amber honey being poured over the ear. - Shannon Christy, Charlebois Post
  14. Lucia di Lammermoor, 2013
    Lucia di Lammermoor, 2013
  15. "[Conductor] Stephen Lord was quite magnificent to watch, deliciously flexible with the COC orchestra in following the singers no matter where they wanted to go, one of the most impressive displays of musicianship I have ever seen. And the orchestra were in splendid form, especially the horns." - Leslie Barcza, barczablog
  16. David Alden’s direction is flawless. It is a simple love triangle with the twist of incest and he was successful at bringing out his performers’ best.  He seems willing to let the audience think and to not feed us the answers... [Stephen] Lord does a wonderful job carrying us through each scene and at no time did I feel like there was a lag in the tempo as he allowed for the performers to catch up.  The music was so synched with the performers' moves that somehow it carried visual emotions over to the audience. - Shannon Christy, Charlebois Post
  17. The glass armonica made all the difference in the Mad Scene, and kudos to the COC for going out of their way to get one. The sound that thing produces is otherworldly. - Lydia Perovic, Definitely the Opera
  18. Anticipation was high!
  19. Inside Opera: William Zeitler and the Glass Armonica
  20. Here's what our audience had to say!