"Lucia di Lammermoor": A Return to Essentials
A rather compelling "unconventional" production of Donizetti’s masterpiece.
Nicolas Blanmont - Published October 23, 2026, at 7:42 PM - La Libre (Belgium)
As we have known since the time of Richard Wagner—and arguably even earlier—opera is a "total work of art" (*Gesamtkunstwerk*). By its very nature, it demands more resources than any other artistic endeavor: an orchestra, a chorus, and soloists for the music, alongside stage direction, costume workshops, and set design for the theatrical component. This is precisely why operas are generally staged only in theaters that receive substantial public subsidies.
The founders of the BOOO (Belgian Opera and Operetta Organisation—a name that, perhaps intentionally, evokes the "boos" sometimes directed at opera stage directors) certainly did not choose the easy path. They set out to stage *Lucia di Lammermoor* in mid-sized venues across the country’s three regions, while providing a platform for Belgian artists—all at accessible, "democratic" prices: €50 or €55 for top-tier seats, compared to double that at the Opéra de Liège or triple at La Monnaie. On Thursday, the production arrived at the Auderghem Cultural Center.
Pragmatism and Simplicity
While this *Lucia* may not operate in the same league as the aforementioned major opera houses, it is an achievement that commands respect. Admittedly, one should not expect a fully realized, polished theatrical production here. The soloists and chorus members appear in contemporary attire—suits, ties, jackets, and trousers for nearly everyone, including the choristers—but this should not be interpreted as a deliberate... Rather than a radical reinterpretation, the approach is pragmatic: each character arrives in their own attire. Lucia alone is granted an evening gown and a wedding dress—which she has managed to keep free from the blood of her unfortunate husband, a refreshing departure from the many blood-soaked stagings one often encounters. With minimalist sets—columns and stained glass suggesting a church, a fountain that transforms into a table thanks to the chorus members (who also act as stagehands), and a touch of video—director Senne Martens focuses on blocking and broad character strokes, leaving the soloists to fill in the details.
And yet, it works. This stripped-back theatricality allows the audience to focus entirely on the music. There are some truly wonderful discoveries: Jean-Denis Piette (28) delivers a powerful, incisive Enrico Ashton, while Hadrien Baudot offers an elegant and moving Edgardo. Veteran Marcel Vanaud—in remarkable form at over 70—is a stunning Raimondo. Then there is the magnificent Lucia, portrayed by 32-year-old Flemish soprano Emma Posman; having previously appeared in smaller roles at La Monnaie and elsewhere, she here reveals herself to be a singer of superb control and stamina in a demanding role, showcasing impeccable coloratura, crystalline high notes, and a rich, silky vocal quality.
The singing is excellent and pitch-perfect. In the pit, experienced conductor Dario Salvi (of Italian-Scottish heritage) succeeds in guiding, motivating, and galvanizing his forces—the soloists, the chorus, and an orchestra of forty musicians. While the playing is not entirely without the occasional lapse, it features beautiful work from the harp and flutes—elements that are essential to *Lucia*.
Original in French (read here)
