Jennifer France Shines in Thoughtful Staging of Lucia di Lammermoor

In a compelling new production of Gaetano Donizetti's opera "Lucia di Lammermoor," soprano Jennifer France captivates audiences with her nuanced portrayal of the titular character. The performance, directed by Cecilia Stinton, is currently showing at Opera Holland Park in London and will run until August 1, 2025. France's portrayal of Lucia, marked by unforced warmth and emotional depth, resonates with spectators from the outset, creating a connection that enhances the tragic narrative of the opera.

Donizetti's work, which premiered in 1835, navigates themes of love, betrayal, and madness, and remains a staple of the bel canto repertoire. In Stinton's interpretation, the character of Lucia is depicted not merely as a tragic victim but as a complex individual, whose descent into madness is both poignant and relatable. "The heroine is a charmer, a little wacky perhaps, prone to the odd hallucination, but you imagine she’d be fun to be around in different circumstances," remarked Clive Paget, a theatre critic for The Guardian, in his review on July 23, 2025.

The visual aesthetics of the production, designed by Neil Irish, feature sets that blend seamlessly with the historic Jacobian architecture of Holland House. The staging offers a duality of setting; part of the action unfolds within the confines of a dilapidated mansion, symbolizing the decay of familial bonds, while other scenes take place in a cemetery, where the weight of loss permeates the atmosphere. This creative choice underscores the opera’s exploration of mortality and mental anguish.

Musically, conductor Michael Papadopoulos directs the City of London Sinfonia with a careful hand, ensuring that the orchestra complements the singers without overwhelming them. Critics noted the orchestra's ability to produce a rich, robust sound, particularly in the lively party scenes and the emotionally charged storm of Act III. The chorus, a critical element of the opera, delivered a strong performance, enhancing the overall impact of the staging.

Jennifer France's performance as Lucia is highlighted by her bright, flexible soprano voice. Critics praised her ability to convey a range of emotions, from playful innocence to profound despair. Her technical prowess, particularly in the coloratura passages, was met with acclaim, although a few high notes posed a challenge. José de Eça, portraying Edgardo, Lucia's love interest, delivered an Italianate sound that complemented France’s performance, although some softer high notes fell short of expectations.

Supporting roles were equally well-executed, with Australian baritone Morgan Pearse embodying Lucia’s brother Enrico with a commanding presence and robust vocal strength. Blaise Malaba’s portrayal of Raimondo added depth to the narrative, and mezzo-soprano Charlotte Badham's performance as Lucia’s companion Alisa introduced an unexpected layer of emotional complexity to the story. Their relationship provided a poignant counterpoint to Lucia's tragic arc.

As audiences continue to engage with this timeless opera, Stinton's production reaffirms the relevance of Donizetti's narrative in contemporary society, highlighting the enduring themes of love, sacrifice, and the complexities of the human psyche. The thoughtful direction and strong performances promise to leave a lasting impression on viewers, inviting them to consider the intricacies of Lucia's character and the societal forces that shape her fate. As the opera unfolds, it invites reflection on the nature of madness and the lengths to which one might go in the name of love. The production is a testament to the enduring power of opera to evoke deep emotional responses and provoke thoughtful discourse among its audiences.