A “magnificent return” to San Francisco Opera in Lucia di Lammermoor

Piotr Beczala’s return to San Francisco Opera was hailed as “magnificent” by the San Francisco Chronicle, reviewing last night’s premiere of Lucia di Lammermoor. The Chronicle writes of the tenor’s star performance as Edgardo, “Each time Beczala came onstage — whether to pledge his love to Lucia in Act 1, to grapple with what he considers her betrayal in Act 2, or to bring the opera to a close with a brilliant account of the demanding final ‘Wolf-Crag’ scene — everything seemed to take on a new air of consequentiality. His singing was rich and full of color, with a superb combination of weight and agility.”

The San Francisco Examiner added that Piotr was “an ardent, vocally powerful Edgardo… Beczala’s beautifully plangent voice was most effective in Edgardo’s moving final aria, ‘Tu che a Dio spiegasti l’ali.’ He also displayed dramatic flair, especially in duets with [Nadine] Sierra. The pair had a naturally warm chemistry, and, with the opera’s four other principals, were in resplendent sync in Act 2’s great sextet.”

Describing his casting in the role as “magnificent,” the Financial Times noted, “Piotr Beczala informed Edgardo with an ardour that revealed surges of glorious tone, especially during the tomb scene.” San Francisco Classical Voice added, “The inclusion of the usually cut “Wolf-Crag Scene” gave him scope to show ferocity and anger before turning to suicidal despair.”

“Piotr Beczala sang heroically as Edgardo, Lucia’s lover,” wrote the San Jose Mercury News. “The Polish tenor’s impassioned performance was an asset in the Act I duet, ‘Verranno a te,’ with Sierra, and his desperate Act III aria, ‘Fra poco a me ricovero,’ was one of the evening’s dramatic high points.”

“He was all that one could wish from a romantic tenor lead; but his character was one of substance, rather than style,” wrote the Examiner. Seen and Heard International concurred,“Piotr Beczala showed how it should be done. His lyric sound could acquire the ‘ping’ necessary to project ardor effortlessly without forcing it, and his phrasing made the text spring to life.”

Lucia di Lammermoor continues at San Francisco Opera through October 28.

(Photo: Cory Weaver)