Donizetti’s grand opera “Lucia di Lammermoor” — at the Barbara B. Mann April 29 and Artis Naples on May 2 — is an example of the bel canto style of opera. Gulfshore Opera General Director Steffanie Pearce explains.
“Bel Canto means beautiful singing. So in this period, the voice was challenged to do a lot of fireworks and displays of especially the super, super high notes … very fast movement and beauty, just incredible beauty of the voice.”
It takes natural talent and refined skill to master this type of singing.
“We have assembled a fabulous cast,” Pearce noted. “Our prima donna, who sings the title role of Lucia di Lammermoor, has made her Met debut, and this will be her debut in this role of Lucia.”
Burgess plays one of opera’s most tragic figures – a woman born into a wealthy family who is used as a pawn for her brother’s political gain.
“We have a lot of sympathy for this character because she’s very much in love with someone who’s from not the right family and she’s forced to marry someone from a family that her brother sees will be advantageous for him politically, and that drives her mad,” noted Pearce.
The penultimate scene in the opera takes place during Lucia’s wedding.
“It’s called the mad scene and it goes on for over 10 minutes,” Pearce observed. “She hallucinates and believes that she’s successfully run away with her lover and gotten married secretly somewhere else even while she’s standing in this room full of wedding guests at her wedding. There’s some great theater involved in it, incredibly athletic vocalizing, and a lot of beauty and really passionate emotion, emotion above and beyond what we are able to display in our everyday lives but sometimes wish we could."
“If you want to see a truly grand scale opera with full sets, costumes, a full orchestra in the pit, lighting design and all the things that come will full grand scale opera and also, very importantly, English surtitles above the stage, come to a performance of ‘Lucia di Lammermoor,’” Pearce added. “So even though we do it in the original language, you’ll understand it. You need to come see Gulfshore Opera because we are the only people doing grand opera at Artis —Naples and Barbara Mann.”
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Metropolitan Opera soprano Susanne Burgess portrays Lucia. Burgess is celebrated for her warm vocal color, expressive phrasing, and impressive fioratura. Born in Geneva and raised in Texas, Burgess made her Metropolitan Opera debut as Countess Ceprano in “Rigoletto” and returns this season as Frasquita in “Carmen.” She has recently performed in “A Midsummer Night’s Dream” with Atlanta Opera and Des Moines Metro Opera, Magda in “La Rondine” with Southern Illinois Music Festival, and concerts with Festival d’Aix-en-Provence and Liceu Opera Barcelona. Known for her engaging emotional expression and dynamic stage presence, Burgess has become a sought-after soprano for both traditional and new repertoire. In recognition of her talent and artistic contributions, she received a prestigious Career Grant from The Gerda Lissner Foundation in New York City.
Hailed by Opera News for his “handsome sound” and described as a “standout” by the Wall Street Journal, tenor Derrek Stark is quickly establishing a reputation as an elegant and nuanced performer. He appears as Sir Edgardo Ravenswood. Stark’s 2023/24 season saw a return to the Metropolitan Opera covering Prunier in Puccini’s “La Rondine,” and singing the Prince in Dvořák’s “Rusalka” with POP Opera, Frederic in Gilbert and Sullivan’s “Pirates of Penzance” with Knoxville Opera, and Candide in “Candide” with Opera Tampa. He was previously seen in GO’s production of “Die Fledermaus” singing Alfredo Caruso. Stark holds a B.M. from Mansfield University, PA, and an M.M. from The Jacobs School of Music, Indiana University.
Javier Arrey is Lord Enrico Ashton. Praised for his “superbly refined voice” by the Washington Classical Review, Baritone Javier Arrey has graced international stages including the Vienna State Opera, The Metropolitan Opera, and San Francisco Opera. His repertoire spans major roles such as Enrico in “Lucia di Lammermoor,” Jago in “Otello,” Renato in “Un Ballo in Maschera,” and Diego Rivera in “El último sueño de Frida y Diego.” He has worked under renowned conductors like Lorin Maazel, Yannick Nézet-Séguin, and Plácido Domingo. Arrey’s nuanced portrayal of Jago at Castleton Festival earned acclaim from The Washington Post and Maestro Maazel. In recital, he has performed Mahler and Dvořák across Europe and South America. Arrey’s artistry has earned him top honors including the Congressional Medal of Honor from the Chilean Congress, the CulturArte Prize at Operalia, and recognition as a finalist in the Cardiff Singer of the World Competition (Song Prize). Known for his commitment to outreach, he brings opera to communities with limited access.
Bass-baritone Samuel Weiser portrays Raimando Bidebent. Weiser is renowned for his powerful voice and deeply nuanced character portrayals. A Metropolitan Opera artist, he has sung Count Ribbing in "Un Ballo in Maschera," the Clerk in "The Nose," and Prince Gremin in "Eugene Onegin." In 2025, he debuts as Leporello in "Don Giovanni" with Livermore Valley Opera and joins Gulfshore Opera as Raimondo in "Lucia di Lammermoor." A standout performance as Alberich in "Das Rheingold" with Nashville Opera drew acclaim from critics, calling it “the highlight of the evening.” He also performed Dr. Dulcamara in "L’elisir d’amore," Benoit/Alcindoro in "La Bohème," and premiered the title role in "Pepito" at Washington National Opera. Weiser has covered roles at the Met, including in "Dead Man Walking," "Fedora," and "Der Rosenkavalier." A graduate of the Cafritz Young Artist Program, he’s performed with Opera Philadelphia, Chicago Opera Theater, and the National Symphony Orchestra. A Laffont Competition winner, Weiser holds degrees from Roosevelt University and Indiana University of Pennsylvania.
Music Director Jorge Parodi conducts. Parodi is an internationally respected conductor, music educator, and arts leader. He currently serves as artistic director of the Savannah VOICE Festival, music director of Gulfshore Opera, and artistic director of both Opera Hispánica and Opera in Williamsburg. He is the founder of the Tokyo International Vocal Arts Academy and a faculty member at The Juilliard School and Manhattan School of Music. Parodi has led productions at The Atlanta Opera, New York City Opera, Chautauqua Opera, Opera Tampa, Opera Orlando, and Buenos Aires Lírica, among other venues. Notable world premieres include Musto’s Rhoda and the Fossil Hunt, Coppola’s Lady Swanwhite, and Ching’s The Birthday Clown. He has also conducted the Naples Philharmonic, NHK Symphony, and Chautauqua Symphony. Parodi has worked with artists such as Isabel Leonard, Sherrill Milnes, and Rufus Wainwright, and assisted legendary conductors Lorin Maazel and Julius Rudel. His dynamic leadership continues to shape the future of opera across the Americas and abroad.
The Naples Philharmonic will be in the pit. The Naples Philharmonic has long been recognized as one of the cornerstones of Southwest Florida’s arts community. As part of Artis Naples, the Naples Philharmonic performs more than 140 orchestral and chamber music concerts, as well as opera and ballet, education, community and special event concerts annually between September and June in the 1,477-seat Hayes Hall, the 283-seat Daniels Pavilion and around Southwest Florida. The Naples Philharmonic has enjoyed a history of working with world-class music directors. Following a successful designate year in 2023-24, Alexander Shelley begins his new role as artistic and music director in the 2024-25 season. Renowned violinist James Ehnes continues as artistic partner through the 2024-25 season, working with Naples Philharmonic musicians in a variety of settings with a focus on inspiring and embodying a high level of artistry. Podium leadership also includes Principal Pops Conductor Jack Everly, celebrating 15 years in this role in the 2024-25 season and bringing pops performances that celebrate music across genres.
“The Naples Philharmonic Orchestra has been our orchestra for the past five seasons, while we’ve done our grand opera production at Artis Naples and the Barbara Mann, so we are thrilled to partner with them,” Pearce elaborated. “We believe that is the highest quality we can achieve doing our grand opera is to have them as our orchestra.”
Donizetti wrote Lucia di Lammermoor in 1835, when he was reaching the peak of his reputation as an opera composer. Gioachino Rossini had recently retired, and Vincenzo Bellini had died shortly before the premiere of "Lucia," leaving Donizetti as “the sole reigning genius of Italian opera.”
At the time, there was also a widespread interest in the history and culture of Scotland. The perceived romance of its violent wars and feuds as well as its folklore and mythology intrigued 19th century readers and audiences. Walter Scott dramatized these elements in his novel “The Bride of Lammermoor,” which inspired several musical works including "Lucia."
The story concerns the emotionally fragile Lucy Ashton (Lucia) who is caught in a feud between her own family and that of the Ravenswoods. The setting is the Lammermuir Hills of Scotland (Lammermoor) in the 17th century.
The cabaletta “Spargi d’amaro pianto” following the more lyrical “Il dolce suono” from the “mad scene” (Act 3, Scene 2) has historically been a vehicle for several coloratura sopranos and is a technically and expressively demanding piece.
Support for WGCU’s arts & culture reporting comes from the Estate of Myra Janco Daniels, the Charles M. and Joan R. Taylor Foundation, and Naomi Bloom in loving memory of her husband, Ron Wallace.