Elena returns to Melbourne Opera for Lucia
Lucia di Lammermoor – Melbourne Opera
Elena Xanthoudakis was thrilled to return to her Melbourne home company, Melbourne Opera to perform Lucia in a new production by director Suzanne Chaundy – who takes the original Sir Walter Scott, updates the action by some 150 years, to the 1850s, and takes a focus on the lack of female agency in this period. Featuring a strong production team of Costumes Harriet Oxley, set by Jacob Battista and Sophie Woodward, lighting by Nik Pajanti. Lucia received excellent reviews.
Check out Elena’s reviews and gallery below:
The star of Melbourne Opera productions such as Maria Stuarda and Anna Bolena, Xanthoudakis once again reveals her bright, agile soprano. Coloratura runs, leaps and trills are pleasingly executed, and her vocal expressiveness and acting, especially in the long ‘mad’ scene, give her Lucia authenticity.
Patricia Maunder – Limelight – 9th May 2024
Xanthoudakis was outstanding, her voice, strong, lyrical, febrile, caught not only Lucia’s initial romanticism, but her inner determination and burgeoning hints of fragility as she headed toward the abyss. There was also something in her eyes that illuminated her performance from within, not only in her blood-and-dagger scene, but earlier in her pivotal encounters with Edgardo and with her brother, Enrico.
Opera Magazine – August 2024
Elena Xanthoudakis as Lucia di Lammermoor is an absolute delight, who brings freshness and authenticity to the character. Her strong coloratura trills completely elated the audience. Likewise, her staging and presence were commanding. The transition from a headstrong, in-love person to one of coerced compliance, building to the pinnacle “mad scene”, is outstanding, holding the audience’s attention as she moves around wielding a blood-stained dagger, threatening the lives of those around her. The vocal and facial expressions underscored her dilemma, being true to her word and feelings towards Edgardo and her love and loyalty to her brother Enrico.
Alison Hilbig – Theatre Matters – 21st May 2024
As a young singer about to embark on a successful international career, Elena Xanthoudakis was a principal singer way back in the 2003 productions as Leila (The Pearlfishers) and Pamina (The Magic Flute). We have seen her in a number of other principal roles over the years, but the role of Lucia could be seen as a culmination. It is one that challenges the vocal and dramatic resources of even the greatest divas, but Xanthoudakis gave of her best. She has always been a highly expressive, committed actress with a charming stage presence and a most appealing smiling tone when singing more softly in the middle range. She possesses excellent vocal agility and attacked the highest notes fearlessly on opening night – no easy feat for the final extended “Mad Scene” after the demands of the previous Acts. Hers was a most convincing Lucia sung with great technical prowess.
Heather Leviston – Classic Melbourne – 10th May 2024
Her lustrous soprano in peak form, Elena Xanthoudakis gives a memorable performance in the iconic role of Lucia. Xanthoudakis deftly draws affection from the audience in her opening solos, haunting ghost story “Regnava nel silenzio,” and passionate declaration of love “Quando rapito in estasi.” Xanthoudakis enjoys warm chemistry with every partner, even Simon Meadows as Lucia’s insidious brother Enrico.
A highlight of this, and indeed any, performance of Lucia di Lammermoor, the “mad scene” unfolds with frightening believability. Xanthoudakis’ performance of the scene is perfectly calibrated to build gently and avoid histrionics. Xanthoudakis rises to a peak during the soprano and flute cadenza in “Il dolce suono.” Continuing in the cabaletta “Spargi d’amaro pianto,” Xanthoudakis brings a sense of euphoria to Lucia, who is helplessly lost in a world of her mania.
Finishing on a ringing high note, Xanthoudakis brings the harrowing sequence to a triumphant close.
Simon Parris – Man in Chair – 9th May 2024
She looked the part: neurotic and haunted at first, in the fountain scene, as Lucia recalls an ancestress who was stabbed to death by her lover and has returned as a ghost, which Lucia believes she has seen; ardent and unworldly when joined by Edgardo; then credulous as her brother deceives her about Edgardo’s intentions. Throughout, Xanthoudakis mastered the relentless coloratura. She sang with agility and an assured trill. The long, tremulous Mad Scene was admirable
Peter Rose – Australian Book Review – 14th May 2024
The larger-than-life emotions that underpin this story are beautifully managed by the performers. Xanthoudakis is exceptional as Lucia, and this is especially evident in the famous scene where she is driven to madness. Her disposition is characterised by the intense exasperation resulting from her impossible circumstances. Her psychological decline is rendered a completely rational response to the ruthless mistreatment of her humanity and persona
Patricia Di Risio – Stage Whispers – May 2024
The story reaches that climactic moment when Lucia is driven to despair and murder on her wedding night, before facing her guests in a blood-drenched gown, dagger in hand. It’s opera’s most famous mad scene – a beguiling twenty minutes of tormented psychological unravelling to which Australian-Greek soprano Elena Xanthoudakis enacts with aching and utter credibility.
From the moment she breezed onto the stage in anticipation of her rendezvous with Edgardo, Xanthoudakis looked and sounded certain to take her audience on a magnetic yet heart-breaking journey. Indeed she does so, lustrous and purposeful in voice and relying less on coloratura fireworks while mining soul-bearing depth with remarkable nuance and pathos.
Paul Selar – Australian Arts Review – 10th May 2024