Recommended for Grades 6-12
In this resource, you will:
- Learn the opera’s background and synopsis
- Meet the opera’s composer
Lucia di Lammermoor
by Gaetano Donizetti
Lucia di Lammermoor
by Gaetano Donizetti
A quick overview of Donizetti’s 1838 tragic opera.
Background
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.”
Not only were conditions ripe for Donizetti’s success as a composer, but 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.
Synopsis
Act I
Scene 1: The gardens of Lammermoor Castle
Normanno, captain of the castle guard, and other retainers are searching for an intruder. He tells Enrico that he believes that the man is Edgardo of Ravenswood, and that he comes to the castle to meet Enrico’s sister, Lucia. It is confirmed that Edgardo is indeed the intruder. Enrico reaffirms his hatred for the Ravenswood family and his determination to end the relationship.
Scene 2: By a fountain at the entrance to the park, beside the castle
Lucia waits for Edgardo. In her famous aria “Regnava nel silenzio,” Lucia tells her maid Alisa that she has seen the ghost of a girl killed on the very same spot by a jealous Ravenswood ancestor. Alisa tells Lucia that the apparition is a warning and that she must give up her love for Edgardo. Edgardo enters; for political reasons, he must leave immediately for France. He hopes to make his peace with Enrico and marry Lucia. Lucia tells him this is impossible, but they still take a sworn vow of marriage and exchange rings. Edgardo leaves.
Act II
Scene 1: Lord Ashton’s apartments
Preparations have been made for the imminent wedding of Lucia to Arturo. Enrico worries about whether Lucia will really submit to the wedding. He shows his sister a forged letter seemingly proving that Edgardo has forgotten her and taken a new lover. Enrico leaves Lucia to further persuasion, this time by Raimondo, Lucia’s chaplain and tutor, that she should renounce her vow to Edgardo for the good of the family and marry Arturo.
Scene 2: A hall in the castle
Arturo arrives for the marriage. Lucia seems distressed, but Enrico explains that this is due to the death of her mother. Arturo signs the marriage contract, followed reluctantly by Lucia. At that point Edgardo suddenly appears in the hall, which leads to the celebrated sextet “Chi mi frena in tal momento.” Raimondo prevents a fight, and he shows Edgardo Lucia’s signature on the marriage contract. Edgardo curses her, demanding that they return their rings to each other. He tramples his ring on the ground, before being forced out of the castle.
Act III
Scene 1: Wolf’s Crag
Enrico visits Edgardo to challenge him to a duel. He tells him that Lucia is already enjoying her bridal bed. Edgardo agrees to fight him. They will meet later by the graveyard of the Ravenswoods, near the Wolf’s Crag.
Scene 2: A hall
Raimondo interrupts the marriage celebrations to tell the guests that Lucia has gone mad and killed her bridegroom Arturo. Lucia enters. In the aria “Il dolce suono,” she imagines being with Edgardo, soon to be happily married. Enrico enters. He initially threatens Lucia but later softens when he realizes her condition. Lucia collapses. Raimondo blames Enrico for precipitating the whole tragedy.
Scene 3: The graveyard of the Ravenswood family
Edgardo is resolved to kill himself on Enrico’s sword. He learns that Lucia is dying and then Raimondo comes to tell him that she has already died. Edgardo stabs himself with a dagger, hoping to be reunited with Lucia in heaven.
Meet the Artists
Listen to the Story
Nadine Sierra in Donizetti’s Lucia di Lammermoor. The Metropolitan Opera.
Presented by Washington National Opera, host Saul Lilienstein takes you through the musical world of Donizetti’s 1838 opera, Lucia di Lammermoor.
Watch an Excerpt
The mad scene from Act III of Donizetti’s Lucia di Lammermoor. Natalie Dessay (Lucia).
Related Resources
Media The Elixir of Love
A quick overview of Donizetti鈥檚 1832 operatic melodramma giocoso.
![Stephen Costello, Ailyn Pérez, Simone Alberghini in The Elixir of Love [Scott Suchman for Washington National Opera]](/globalassets/education/resources-for-educators/classroom-resources/artsedge/media/understanding-opera/the-elixir-of-love-169.jpg?format=webp&width=768&quality=70)
Media The Daughter of the Regiment
A quick overview of Donizetti鈥檚 1840 comic opera.
![Emile Finot, La fille du regiment poster, 1910 [Source]](/globalassets/education/resources-for-educators/classroom-resources/artsedge/media/understanding-opera/the-daughter-of-the-regiment-2-169.jpg?format=webp&width=768&quality=70)
Media Lucrezia Borga
A quick overview of Donizetti鈥檚 1833 melodramatic opera.
Media Opera's Early Romantic Era: 1800-1865
Journey through the first half of opera鈥檚 third historic 鈥減hase鈥: the Romantic period. Learn about the cultural, economic, and political upheaval that inspired opera鈥檚 emotional U-turn, and get to know some familiar works in the canon.
Kennedy Center Education Digital Learning
Eric Friedman
Director, Digital Learning
Kenny Neal
Manager, Digital Education Resources
Tiffany A. Bryant
Manager, Operations and Audience Engagement
JoDee Scissors
Content Specialist, Digital Learning
Connect with us!
Generous support for educational programs at the Kennedy Center is provided by the U.S. Department of Education. The content of these programs may have been developed under a grant from the U.S. Department of Education but does not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the federal government.
Gifts and grants to educational programs at the Kennedy Center are provided by A. James & Alice B. Clark Foundation; Annenberg Foundation; the Andrew W. Mellon Foundation; Bank of America; Bender Foundation, Inc.; Capital One; Carter and Melissa Cafritz Trust; Carnegie Corporation of New York; DC Commission on the Arts and Humanities; Estée Lauder; Exelon; Flocabulary; Harman Family Foundation; The Hearst Foundations; the Herb Alpert Foundation; the Howard and Geraldine Polinger Family Foundation; William R. Kenan, Jr. Charitable Trust; the Kimsey Endowment; The King-White Family Foundation and Dr. J. Douglas White; Laird Norton Family Foundation; Little Kids Rock; Lois and Richard England Family Foundation; Dr. Gary Mather and Ms. Christina Co Mather; Dr. Gerald and Paula McNichols Foundation; The Morningstar Foundation;
The Morris and Gwendolyn Cafritz Foundation; Music Theatre International; Myra and Leura Younker Endowment Fund; the National Endowment for the Arts; Newman’s Own Foundation; Nordstrom; Park Foundation, Inc.; Paul M. Angell Family Foundation; The Irene Pollin Audience Development and Community Engagement Initiatives; Prince Charitable Trusts; Soundtrap; The Harold and Mimi Steinberg Charitable Trust; Rosemary Kennedy Education Fund; The Embassy of the United Arab Emirates; UnitedHealth Group; The Victory Foundation; The Volgenau Foundation; Volkswagen Group of America; Dennis & Phyllis Washington; and Wells Fargo. Additional support is provided by the National Committee for the Performing Arts.
Social perspectives and language used to describe diverse cultures, identities, experiences, and historical context or significance may have changed since this resource was produced. Kennedy Center Education is committed to reviewing and updating our content to address these changes. If you have specific feedback, recommendations, or concerns, please contact us at [email protected].