Simon Perris: Man in Chair
Simon Perris
Victorian Opera: Lucia di Lammermoor review
In her third Melbourne appearance in three years, Pratt again demonstrates the remarkable strength of her altissimi notes. She begins the evening wisely holding some power in reserve as she charms the audience with the carefree Lucia’s lovely singing by the fountain. A hallmark of Menzies’ direction is the thoughtful use of musical interludes, and Pratt benefits from this, moving naturally to new stage positions and arrangements each time.
Pratt builds throughout the night, dazzling with the full complement of interpolated high notes. Her mad scene is utterly spellbinding; the stage is full of wedding guests but every eye is on Pratt. Her coloratura includes some traditional phrases as well as some that are special to her performance. Variety of dynamics, range and style are carefully planned allowing for a seemingly effortless performance that fully lives up to the high expectations.
Daily Review
Jason Whittaker
Lucia di Lammermoor review (Her Majesty’s Theatre, Melbourne)
This is Usain Bolt in the Olympic final. Cristiano Ronaldo at the World Cup. The greatest athlete on the biggest stage.
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They say nobody in the world sings the maddening title role in Lucia Di Lammermoor — perhaps the most treacherous test composed for a coloratura soprano — better than Jessica Pratt. They used to say the same thing about another Aussie, Joan Sutherland, in the 1960s.
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The moment of ecstasy is thrilling — the famed final-act “mad scene” (aria Il dolce suono) where a bloodied Lucia stumbles down a grand staircase, fresh from murdering her unwanted hubby, in a love-sick hallucination conjuring her star-crossed lover. Pratt is beguiling, her instrument as vivid as we’ve heard on Australian stages. It’s the combination of power and poise in her voice, toying with the score as much as the audience, drawing you in with a delicate trill and pushing you back in your seat with an unfathomably sustained note of spine-tingling vibrato.
Limelight
Maxim Boon
Review: Lucia di Lammermoor (Victorian Opera)
Pratt is surely an artist destined to earn the same iconic stature and enduring legacy as Sutherland, and her account of Lucia – a role that she has performed more than any other – made good on her reputation as one of the world’s most insightful and adept performers of the bel canto canon.
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Of course, this is a voice capable of some jaw-dropping pyrotechnics, but perhaps the most extraordinary aspect of Pratt’s singing is not the power that she can deliver, but the restraint. This willingness to allow such a delicately crafted tone, particularly during the dramatic epicentre of this work, the third act mad scene, shows a total reverence for Donizetti’s ingenuity as a composer, as well as a deep understanding of the vulnerability of this character. In a duet with the spectral, crystalline otherworldliness of a glass harmonica, Pratt’s voice became intertwined with such sympathetic skill that the two sonorities were almost indistinguishable. This was singing that wasn’t just haunting: it was spellbinding.
Classic Melbourne
Heater Leviston
Victorian Opera: Lucia di Lammermoor
..and Jessica Pratt is certainly one of these [Best Singers]. Despite having to contend with the expectations raised by the hype surrounding her as the successor to Melba and Dame Joan, she still amazes. With limited opportunity to warm up, her ability to sustain a smooth legato line in Lucia’s initial aria, “Regnava nel silenzio”, was truly impressive. Although she has the art of soft singing honed to pinpoint perfection, her voice has substance and was always audible, including in the weightier ensembles such as the famous sextet at the end of Act 2. Her skill in floating her voice in long, high pianissimo phrases was most striking in the Mad Scene, where she was accompanied by a haunting, otherworldly glass harmonica. Pratt’s flexibility and wide range produced streams of impressive bravura and stratospheric top notes, generally without apparent effort.
Herald Sun
Paul Selar
Jessica Pratt gives outstanding performance in Lucia di Lammermoor for Victorian Opera
During its intoxicating 20 minutes, Pratt channels the pitiable tragedienne in a hypnotic performance without excessive histrionics and meets the vocal and dramatic demands with an unflinching, focussed performance.
It’s a powerful and near-distressing experience as the silenced chorus and audience remain transfixed by Pratt’s incisive interpretation and striking coloratura soprano.
Broad in range and sumptuous in tone, Pratt melds music, text and emotion exquisitely as she glides to delicate crystalline highs and effortlessly projects the finest pianissimo.
Theater Press
Bradley Storer
Victorian Opera’s LUCIA DI LAMMERMOOR
Pratt is clearly comfortable and confident in the role of Lucia, capably navigating the dramatic arc of Lucia’s journey from innocent love-struck girl to her doomed fate, with a sweet and agile soprano that even in the harsh acoustics of Her Majesty’s could be heard in every corner of the theatre...
...until the famous and vocally- Olympian mad scene, ‘Il Dolce Suono’, where her soft but intense singing touches the heart even as her coloratura thrills.
The Australian
Peter Burch
Jessica Pratt’s Lucia truly worthy of international acclaim
This was a night for joyous celebration: a major opera production by Victorian Opera, starring a brilliant young Australian singer following internationally in the footsteps of dames Nellie Melba and Joan Sutherland, both of whom enjoyed extraordinary success in the title role of Lucia di Lammermoor.
Jessica Pratt made her 2007 debut with Lucia. After Melba and Sutherland, she is only the third Australian to have been invited to sing Lucia at La Scala in Milan. Her success there launched her as one of the world’s great interpreters of the role and an acclaimed exponent of the bel canto repertoire.
At Her Majesty’s on Tuesday she invested Lucia with every nuance of her exceptional abilities.
Timeout Melbourne
Rose Johnstone
Lucia di Lammermoor
Indeed, Pratt’s performance is revelatory; no more so than in the famous ‘Mad Scene’ (Il dolce suono), in which she emerges in a bloody nightgown, wielding a dagger, descending into despair. Her coloratura (agile vocal leaps and trills) is virtually flawless; after performing the role countless times, Pratt owns her Lucia, knowing when to pull her powerful voice back to a tightly controlled softness, and when to crescendo to heart-stopping high notes. Not simply the weak, ruined woman, Pratt plays Lucia’s indecision, love and pain with nuance.
Stage Whispers
Graham Ford
Lucia di Lammermoor
Jessica Pratt has sung Lucia in some of the biggest opera houses in the world. Melbourne audiences were luckier than that. They got to hear her in the intimate Her Majesty’s theatre where she rarely needed to open up that magnificent instrument and so was able to give a much subtler, nuanced performance. Her pianissimo singing was particularly beautiful, and made her a more vulnerable Lucia than one would find in a bigger theatre.
Sydney Morning Herald
Michael Shmith
Lucia Di Lammermoor review: Jessica Pratt ascends vocal stratosphere
...she produced some remarkable singing: as Pratt's Lucia descended into the delusional, her technique ascended into the vocal stratosphere with some gloriously florid singing. No more so, than in her eerie duet with (as originally composed) glass-harmonica obbligato, which is the aural equivalent of being stabbed with a dagger fashioned not from steel but ice.