Greek National Opera, 2018/19

Operaház, 2019

Okay, we weren’t sure if we should include this look in the article simply because we dislike it so, so much. 
Opera legend Edita Gruberova said her final farewell to the stage during the previous season and did so with several European productions, notably a run of Lucia with the Hungarian Operahaz.

Now, we understand some things need to be taken into account: the advanced age of the diva, and the presumably tight budget the designer was on. Still, Gruberova turned out some great, layered looks in the first act, setting up great expectations for her final scene – and yet we get this instead. This plain frock is less shock and gore, and more clumsy tie-dye, robbing the finale of its necessary punch – and the diva of the show-stopping look she deserved.

Minor faults: the length of the dress is just a tiny bit off, and we’re not keen on the midriff big hanging knot, yet Anna Christy is obviously having lots of fun with it, and that’s something we can always appreciate. 
The blood spatter, too, is just right.

The Australian Opera, 1980

What is there to say about this design sketch, except for WOW. A look fit for a queen – that is to say, grande dame Joan Sutherland. 
The gown is stupendous, true to the Stuart-era setting of Sir Walter Scott’s novel; the big puffy sleeves simply scream DRAMA; the tartan scarf, carefully pinned in place, is a nod to Lucia’s Scottish heritage. 

The unraveling of layers, which follows, reveals a delicate side to our poor protagonist, and the heavy material from which the underlayer is made of keeps things interesting, with great woosh effect. Pristine white yet impeccably dramatic: it’s all in the drapes, folks.

San Francisco Opera, 2015/16

Miss Nadine Sierra, serving us some Cinderella realness. 
Okay, we’re not sure if we’re supposed to hate this look by Mattie Ulrich. It is definitely Disney-fied to the point where it feels like it belongs to a story much, much different than the grim Scott/Donizetti fable, and yet… We literally can’t make ourselves critique something which was designed with such obvious love and attention. 

We can’t not admire the departure from the heavy, aristocratic, and period-accurate dresses to something this fairy-light, and the choice to transition from a dark autumnal palette to a gentle baby blue. The dropped waist is appropriately one step farther than was necessary, making this a very costumey costume, and the sweetheart neckline adds to the effect. 
We won’t waste words on the actual „mad scene“ outfit, as it’s simple, plain, and adds nothing much to the scene as opposed to this piece of gorgeous fluff that boldly goes against everything the gothic grime of Lucia di Lammermoor stands for.

The Metropolitan, 2011

Ladies and gentleman, the moment you’ve been waiting for: yes, the production some see as the definitive contemporary Lucia of Lammermoor. 
We don’t disagree – Natalie Dessay absolutely lit up the Met with her voice and stage presence, and her frail frame carries out the „mad scene“ to pitch perfection. There is little to nitpick on in this production and much to love – especially the gloves (oh the gloves!!!), and the torn strap, which feels just dramatically right. 
And that’s just the close-up. The full gown is divinely delicate yet feels mature (as opposed to some others on this list), layers of organza extending from a stiff-looking corset. The blood spatter: 20/10. 
We can’t in good consciousness claim this to be the best look on the list – but it certainly is a great one to close it off with.