Lucia di Lammermoor is a firm favourite with Scottish audiences, and this is the fourth time that the Tayside company has played it. Its popularity has clearly long overtaken Donizetti's source material, The Bride of Lammermoor by Sir Walter Scott, very skilfully filleted by the librettist Salvadore Cammarano. The singing translation used, was by Natalia Macfarren (1827-1916). It is clear and accurate, but does sometimes sound its age.
There was one performance in Brechin (with piano played by Robert Duncan}. The four stagings in Dundee were accompanied by Richard Johnston's efficient eighteen piece orchestra. Particularly enjoyable work came from the trumpet, two horns, and of course, the flute. A few years ago it really looked as though Tayside Opera might go the same way as so many of Scotland's amateur companies in recent years. However there is now a rejuvenated chorus of 25 - a handful of veterans, former soloists, but for the most part enthusiastic young voices.
Three of the principal roles were double cast, and at the third of the Dundee evenings there was a thoroughly accomplished performance of the title role by Jasmine Munns. She has already worked with Fife Opera in difficult coloratura parts by Delibes and Massenet. She led the first act finale very well and showed no technical weaknesses in the notorious 'mad scene'. Her alternate was Moira Docherty. A versatile company stalwart for many years, she last sang this part in 2016, and has chosen it as the vehicle to mark her well-deserved retirement.
As Edgardo, Sebastian Peñalver confirmed the previous positive impression he has given. The voice is sweet-toned and used with good taste. It must be said that Edgardo is a much heavier part than he has previously tackled and he was noticeably tired in the final scene, where the part calls for a more dramatic tone than he yet has. Baritone Brannon Liston-Smith, playing Lucia's nasty brother, was required to sing at all performances, which is asking a lot of his lyrical voice. The sensible decision was taken not to perform the stormy fight scene for the two rivals at the start of the second act. This always used to be omitted until quite recently and it is easy to see why, as it makes ferocious demands on both singers.
Duncan Pirie made a positive impression as the minister, with Elaine Young, Euan Smith and David Clark all making their mark.
When Tayside Opera first mounted this superb work, back in 1980, Edgardo received a memorably outstanding performance from a young Edinburgh tenor, Alan Borthwick. He has sung with Tayside many times over the years, as well as with other companies, starting when a student at Edinburgh University. He also made his mark with Gilbert and Sullivan. Since retiring from singing he has proved himself to be an accomplished director in both serious and comic fields - he has only just finished directing The Gondoliers in Edinburgh.
It is good to report that with the company's healthy young chorus, Tayside's project for next year is to be Il trovatore, a work they last tackled as long ago as 1997.
The venue the company now uses is The Space at Dundee and Angus College, opened by the Queen in 2002. The adjacent college, originally built half a century ago as the Kingsway Tech, is located on the outskirts of the city, by the ring-road, with easy access from wide-reaching parts of the surrounding county. This facility really works well as an intimate building for opera. The stage is generously proportioned, to accommodate students of dance. The acoustic is good and the auditorium is steeply raked with good leg room and excellent sightlines. With two rows of seats removed to make a decent-sized orchestra pit, the remaining five rows can accommodate some 120 audience members. On this occasion the theatre was packed and the reception was extremely enthusiastic.