Luisa Miller at the Met

Luisa Miller is one of the more satisfying transitional operas in Giuseppe Verdi’s long trajectory toward his late grand masterpieces. In addition to being more consistent in style and mood than early works, such as Nabucco and I Lombardi, it has more emotional depth, more soul than those operas in the years before Rigoletto, save, of course, Macbeth. One hears in Luisa Miller brief sound bites, teasers of things to come in Simon Boccanegra, La Forza del Destino, even Aïda.*

A recurrent theme in Verdi’s operas is the father-child relationship, a little more often father-daughter than father-son. Here Miller’s daughter Luisa is in love with “Carlo,” who is in reality Rodolfo, the son of Count Walter. The Count wants his son to marry Federica, a widowed duchess. The Count has Miller imprisoned. Wurm, a real worm, also a villain and by day Count Walter’s retainer, pressures Luisa to write a letter forswearing Rodolfo, admitting she’s au fond just a gold digger, and claiming that she loves Wurm instead, all this if she ever wants her father to leave prison alive.

  Luisa Miller (Sonya Yoncheva) and 'Carlo,' the Count's son Rodolfo   (Piotr   Beczała) in disguise

Luisa Miller (Sonya Yoncheva) and 'Carlo,' the Count's son Rodolfo (Piotr Beczała) in disguise

She does so. Rodolfo, letter revealed, is distraught, so he takes poison and offers her some; dying, she reveals Wurm’s treachery and swears her devotion to Rodolfo. The latter stabs Wurm in his ebbing strength. Both young lovers die in the presence of their fathers.

  Luisa Miller (Sonya Yoncheva) and Rodolfo (Piotr   Beczała)   have taken poison in Act III

Luisa Miller (Sonya Yoncheva) and Rodolfo (Piotr Beczała) have taken poison in Act III

The Met’s cast for Luisa Miller is strong from top to bottom. Sonya Yoncheva, in this her third HD telecast of the season, is a very fine Luisa. Her voice soars to the top, but remains rich on the bottom. The role of Luisa is a challenge, at times requiring spinto metal in contrast to airy coloratura. From her lighter opening scene in Act I to her ever darkening situations in the later scenes, Luisa Miller is a multifaceted character. Her dramatic aria in the first scene of Act II Tu puniscimi, o Signore is a case in point. It’s been Yoncheva’s season, certainly. Brava!

Rodolfo, aka Carlo, also has a wide range of emotions throughout the drama. The role fits Piotr Beczała like a glove: he is soulfully passionate throughout. His aria Quando le sere al placido, later in Act II, probably the best known excerpt from the opera, is another highlight of the evening. Bravo Beczała!

  Miller (Placido Domingo) and Luisa (Sonya Yoncheva) in the village

Miller (Placido Domingo) and Luisa (Sonya Yoncheva) in the village

Like Simon Boccanegra, Luisa Miller has three dark voices, which, with a darker orchestral sound and the dark sets, make for a fitting end to a cold gray winter this year. Miller is the latest of Plácido Domingo’s forays into the baritone repertory. He does not disappoint, well deserving of the ovation he received at the performance’s final curtain. Wurm is taken by Dmitry Belosselskiy, a fine singer performing a repulsive character. Lastly Alexander Vinogradov essays Count Walter. These are unformly robust performances and fine singing.

Duchess Federica is solidly sung by Olesya Petrova; Laura, Luisa’s young friend, is taken by Rihab Chaieb.

Bertrand de Billy conducts the Metropolitan Opera Orchestra with fire and elegance; the Metropolitan Opera Chorus complements the cast.

  Village set for  Luisa Miller , Act I

Village set for Luisa Miller, Act I

Elijah Moshinsky’s production relocates and updates the plot from the Tyrol in the 1600s to industrial England in the 1850s, happily taking advantage of the chance to enhance the claustrophobic atmospheres a tiny village and a dark estate. Santo Loquasto’s sets and costumes and Duane Schuler’s lighting work well to convey the peoples’ plight.

This production of Verdi’s Luisa Miller was new in 2001-2002. Welcome back! Don’t miss it.

*This is not to say keep your ears open for a tune from the Triumphal Scene…

Reviewed performance: April 9, 2018, looking for sun...

Photos: Chris Lee.

Luisa Miller is performed in three acts with two intermissions. The running time of the HD performance is about three and one half hours.

Luisa Miller appears again on the Met stage on the evening of April 18, with matinees on April 14 and 21. Weekday evening curtain is 7:30 p.m., but check your performance date for the matinees. For ticket information or to place an order, please call (212) 362-6000 or visit www.metopera.org. Special rates for groups of 10 or more are available by calling (212) 341-5410 or by visiting www.metopera.org/groups.

The April 14 matinee Luisa Miller will be telecast live in HD to theaters worldwide and also encored in some locations. Information about HD venues, operas, dates, times, casts, and tickets can be found on the Metropolitan Opera website www.metopera.org.

Note local telecast dates: the Quick Center at Fairfield University in Fairfield, CT, will show the HD telecast matinee performance of Luisa Miller live on Saturday, April 14 at 12:30 p.m. and as an encore at 6:00 p.m. I'm pretty sure a pre-matinee talk is scheduled, but check if so and when. Tickets for these at the Quick Center may be ordered online at www.fairfield.edu/lifeatfairfield/artsminds/quickcenterforthearts or one may call the Quick Center Box Office at 203-254-4010 or 1-877-278-7396.

The Ridgefield Playhouse in Ridgefield, CT, will telecast Luisa Miller as an encore on Sunday, April 15 at 2:00 p.m. Tickets for this performance @ Ridgefield may be ordered online at www.ridgefieldplayhouse.org or from the box office of the Ridgefield Playhouse at 203-438-5795.

Ample free parking is available at both local venues; if new to either, please check their websites for directions to theaters and suggestions for fine regional dining.

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