Word: lucia
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...subject, an unhappy childhood, is a certified Freudian yawn, but she plays it for funny and painful surprises. More like Little Lulu than Little Nell, her 10-year-old heroine Lucia refuses to let grownups run and ruin her life. When her parents fight, and Lucia is sent to live with a saurian grandmother in Virginia, she battles the old monster to a standstill. "You're a big mean bug," she screams, "and I sink your mean mud head about ten million feet into the ground!" Then with all her force she struggles to reconstitute the family she needs...
Convinced that money is the problem, Lucia hatches a sort of Raffles-in-hair-ribbons plot to rob a jewelry store, fence the proceeds through her favorite newsboy, reunite her parents in New York and live with them ever after. The plot is a hilarious failure, but the robbery makes such a scandal that Grandma sends Lucia back to her mother. Lucia arrives in a glow, triumphant. "Mother, I love you. I'm home." Mother, just out of a mental hospital, begins to laugh hysterically...
...week she and the New York City Opera will recreate all three during a three-week guest stand in Los Angeles (planned for next spring is a new production by Beverly and the company of another Donizetti queen, Maria Stuarda). Early next month, she will give two performances of Lucia di Lammermoor in New Orleans, then fly to Israel for a month-long concert tour. After that, her appointment book lists dates as far ahead...
...home, she and Peter try to bolster Muffy's self-confidence by sending her on errands to buy hard-to-pronounce items like toasted-almond ice cream. Beverly once arranged for Muffy to be in a procession of candle bearers during the death scene in Lucia. As Beverly lay "dead" in the scene, she found that her view was blocked by Raimondo, the chaplain. She stage-whispered: "Raimondo! Move your ass! I can't see Muffy...
BESIDES Beverly Sills, the other leading heiress to Maria Callas' artistic legacy is the Australian coloratura soprano Joan Sutherland. Sutherland, 45, sings many of the same roles as Sills and, like Sills, was a late bloomer-she burst onto the international scene with a Lucia di Lammermoor at Covent Garden in 1959. Otherwise the two are a study in contrasts: separate conjugations of greatness. Each has her passionate following. Ask a Sutherland admirer about Sills' voice and he might say, "Pretty, but thin." Ask a Sillsian about Sutherland and he might retort, "Beautiful, but boring." Still, all would...