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Lucia by Opera Naples

As one who had spent ten years bringing full stage productions of operas and other gala events to an unsophisticated, agrarian region of New Jersey, this writer knows the gigantic task that is involved. For that reason, she salutes Steffanie Pearce, the General/Artistic Director of Opera Naples. She is to be well-commended and complimented.

The Lucia di Lammermoor was superb. Given in a most beautiful building, not really constructed for opera, the production, never-the-less, suspended all belief that the plot was not taking place in the Scottish Highlands. The Design Center was a surprise with its high vaulted ceiling in the main court, where moveable chairs were placed for the audience to view the opera. The glass roof allowed daylight to filter in at the beginning of the opera and it then slowly blended in darkness, befitting the unhappy finale of the piece.

The stage upon which the action took place was basically a set of steps fronted by a faux stone wall. The singers entered from the side of the stage or from its depths, depending on the action. All was done with complete ease without losing character by the actors. The orchestra was placed on the right of the stage with the conductor, Franz Vote of the Metropolitan Opera, standing on a small podium not two feet from this writer.

While all of the surroundings were unique, one goes to hear singing at an opera. In this case, the singers were very good and very professional. Lucia, as sung by Audrey Elizabeth Luna, was outstanding. Her voice reached e-flats without a bit of trouble; and she had plenty of high notes to deliver. In many instances, she did this sitting or lying down on the floor, sitting, kneeling, or getting in any other physical positions that most singers would shun because of the difficulty in delivering good sound in those positions. She did it all with aplomb. Ms. Luna was imported from the Met and her biography indicates that she has sung the Queen of the Night in Die Zauberflote. That, indeed, would be worth traveling to New York to hear. Perhaps Ms. Pearce can import her once again to star in that production. Ms. Luna certainly has the beautiful voice to accomplish it. Anthony Kearns, one of the Irish Tenors, sang Edgardo of Ravenswood. While he does tour three times a year with that group, Mr. Kearns is an opera lover and deported himself well in the role. He has an incredible agility and flexibility of voice and his acting was outstanding. Mr. Kearns has an impressive biography of the venues wherein he has sung, numbering from Carnegie Hall to Sydney Opera House. In addition to his Irish repertoire, Mr. Kearns has sung Verdi, Puccini, and others. His was a handsome, impressive Edgardo.

Other roles were played by singers from other opera companies: Florida Grand, Metropolitan, San Francisco and Houston Opera. All were outstanding in their roles, One of Opera Naples’ Artists in Residence, Melissa Vitrella, sang Alisa, Lucia’s handmaid. She joins the company also in their Costume Design and Construction staff. We were delighted with the performances by her and Ann Leonardi (who sang in the chorus) at our Christmas party at The Landings in December.

We are indeed lucky in this area to have such good live opera in our neighborhood. It means no more long bus rides at very late hours. We can now drive a reasonable hour to see and hear what is sure to be very good opera. Ms. Pearce, who has worked for five years to reach this point, will guarantee that.

Evelyn E. Pilla

This was written by FOTO Recording & Corresponding Secretary, Evelyn E. Pilla, who
previously sang & presented staged operas & concerts with Met & NYCO stars in Vineland NJ
in the 1960s & 70s.