I am absolutely delighted to be back at the Metropolitan Opera to conduct an opera which is very dear to my heart: first of all because it is one of the masterpieces by our dear Donizetti; then because I owe the 2019 Premio Ópera XXI award, of which I am particularly proud, to Lucia. Since 2016 I have immersed myself in this opera of extraordinary beauty, a supreme Belcanto work, first in Palermo, then at the Opéra Bastille, at La Fenice and in Bilbao. Each time, Lucia underlines how great Donizetti is, with his composition, so typical of the early eighteen hundreds, yet so very different and superior to other works.
The original manuscript of the opera, looked after at the “Angelo Mai” Library in Bergamo, will be travelling overseas for the first time and will be on display from 21 April to 21 May at the IIC in Park Avenue.
A round table will be held on 21 April at the Institute, at which I’ll be present and during which videos of Bergamo and its treasures will be shown. It will also be a chance to present the critical edition of Lucia di Lammermoor edited by Gabriele Dotto (who will take part in the round table) and Roger Parker, published by Ricordi a few months ago as part of the Edizione Nazionale scheme, in a joint project by Bergamo City Council and the Fondazione Teatro Donizetti.
For anyone who is in New York at the moment, the chance to admire close up the autograph score at the Italian Cultural Institute is not only an incredible opportunity to study, but also a joyous event for the city of Bergamo and for its Donizetti Opera festival, of which I have the honour of being music director.