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Orcas Center presents on the Center Stage Screen:

The Met Opera: Lucia di Lammermoor

Composer: Gaetano Donizetti
Saturday, June 11th – 1pm
Runtime:
3 hours and 25 minutes with intermission
Tiered Ticket Pricing:
$47, $25, $5, or Pay What You Can (Minimum $5)
Orcas Center charges a $2 per ticket fee

CLICK HERE for complete information on Lucia di Lammermoor from The Met – Including cast sheet and synopsis

COVID Policy Update:

Due to contractual obligations, proof of vaccination and masking will still be required to attend shows at Orcas Center through April 18th. This is the date of the last show we have tickets sold under our current policies. Starting April 19th we will no longer check vaccine status and we will no longer have “distanced” seating.

We will require masks in the theater and in the lobby before and during shows until further notice. Masks will not be required in the Madrona Room where refreshments may be served at intermission. Masking will no longer be required in the building during the day for classes – effective immediately – to align with the public school.

Thank you for your understanding and cooperation as we continue to work to keep our artists, staff, volunteers, and patrons healthy.

Advance ticket sales only:
There will be no box office attendant prior to the performance

Private events will be allowed to set their rules around social distancing, mask and vaccination proof provided they comply with all state and county regulations

**Orcas Center’s Tiered Ticket Pricing is based on the needs of your family. The variant in pricing is not based on seat location or dates of performances, rather, what you’re able to afford to help us to maintain our facilities and create quality programming.

Tier A is the true cost per patron of putting on show at the Orcas Center, Tier B is our standard rate, also subsidized by our generous donors, Tier C is a rate subsidized by our generous donors. **


Lucia di Lammermoor

CLICK HERE for complete information on Lucia di Lammermoor from The Met – Including cast sheet and synopsis

The character of Lucia has become an icon in opera and beyond, an archetype of the constrained woman asserting herself in society. She reappears as a touchstone for such diverse later characters as Flaubert’s adulterous Madame Bovary and the repressed Englishmen in the novels of E. M. Forster. The insanity that overtakes and destroys Lucia, depicted in opera’s most celebrated mad scene, has especially captured the public imagination. Donizetti’s handling of this fragile woman’s state of mind remains seductively beautiful, thoroughly compelling, and deeply disturbing.

The tale was originally set in Scotland, which, to artists of the Romantic era, signified a wild landscape on the fringe of Europe, with a culture burdened by a French-derived code of chivalry and an ancient tribal system. Civil war and tribal strife are recurring features of Scottish history, creating a background of fragmentation reflected in both Lucia’s family situation and her own fragile psyche. The design of the Met’s new production by Simon Stone suggests a present-day American Rust Belt, an area once prosperous but now fallen into decline and neglect.

Donizetti’s operas and those of his Italian contemporaries came to be classified under the heading of bel canto (“beautiful singing”), a genre that focused on vocal agility and lyrical beauty to express drama. Today, the great challenge in performing this music lies in finding the right balance between elegant but athletic vocalism and dramatic insight. Individual moments from the score that can be charming on their own take on increased dramatic force when heard within the context of the piece, perhaps most apparent in the soprano’s extended Mad Scene in Act III.