San Francisco has long held a special place in the cultural imagination, and during a stay there in the late twentieth century, the city revealed itself as a space where discovery and chance encounters still shaped artistic experience. Wandering without a fixed itinerary, guided only by curiosity, one could still stumble upon places devoted to music and memory—among them, independent record stores that were already becoming rare.
In one such shop, an album immediately stood out: Adolphe Adam’s Le Toréador, newly released on Decca. This chamber opera, written for only three voices, places exceptional responsibility on its sole soprano role, entrusted here to Sumi Jo. Conducting the recording was Richard Bonynge, whose authority in French and bel canto repertoire has long been undisputed. The collaboration of these two artists alone made the recording remarkable; the rarity of the work itself added further distinction.
Not long afterward, in Los Angeles, another unexpected convergence occurred. At the Dorothy Chandler Pavilion, the evening’s performance was announced as Lucia di Lammermoor, conducted by Richard Bonynge, with Sumi Jo in the title role. The coincidence was striking: within the span of a few days, the same soprano–conductor partnership appeared first on a rare studio recording and then on the operatic stage, in one of the most demanding roles of the bel canto repertory.
That evening’s performance confirmed the exceptional nature of this artistic pairing. Bonynge’s conducting displayed the elegance, stylistic clarity, and dramatic flexibility that have defined his career, while Sumi Jo’s Lucia revealed a voice of extraordinary purity and agility. Her phrasing, technical precision, and ethereal control—particularly in the mad scene—affirmed her standing as one of the foremost coloratura sopranos of her generation.
Moments such as these, shaped by chance yet marked by artistic excellence, serve as reminders of how great performers leave enduring impressions not only through careful planning, but also through the unexpected intersections of time, place, and repertoire.
San Francisco, long celebrated for its openness to artistic discovery, offered at the time an environment in which music lovers could still encounter unexpected treasures through simple wandering. Independent record stores—already becoming less common—remained spaces of quiet devotion, where recordings were not merely products but invitations to exploration. Within such a setting, one particular release drew immediate attention: Adolphe Adam’s Le Toréador, newly issued by Decca.
This chamber opera, modest in scale yet demanding in execution, features only three vocal roles—a tenor, a baritone, and a single soprano, upon whom much of the work’s expressive weight rests. The choice of Sumi Jo for this role was significant. Known primarily for her mastery of the bel canto and coloratura repertory, she brought to Adam’s music a combination of technical brilliance and stylistic refinement that elevated the score beyond its apparent simplicity. The recording was further distinguished by the presence of Richard Bonynge on the podium, a conductor whose lifelong advocacy of neglected operatic works and deep understanding of nineteenth-century vocal style have shaped modern performance practice. Together, soprano and conductor formed a partnership rooted in elegance, precision, and historical awareness.
Shortly thereafter, in Los Angeles, this artistic collaboration appeared again—this time on the operatic stage rather than in the recording studio. At the Dorothy Chandler Pavilion, the evening’s performance was announced as Gaetano Donizetti’s Lucia di Lammermoor, with Richard Bonynge conducting and Sumi Jo singing the title role. The convergence was remarkable: within the same journey, the same two artists were encountered first through a rare French opera and then through one of the most iconic works of the Italian bel canto tradition.
In Lucia di Lammermoor, the demands placed upon the soprano are among the most formidable in the repertoire. The role requires not only extreme vocal agility and crystalline high notes, but also sustained lyrical intensity and dramatic vulnerability. Sumi Jo’s interpretation rose effortlessly to these challenges. Her voice, marked by exceptional purity and seemingly effortless control, floated above the orchestra with clarity and poise. Each phrase was shaped with meticulous care, combining technical exactitude with expressive sensitivity. Nowhere was this more evident than in the celebrated mad scene, where her vocal line unfolded with haunting transparency, conveying fragility and emotional disintegration without resorting to exaggeration.
Richard Bonynge’s conducting provided an ideal framework for such an interpretation. His approach to Donizetti emphasized balance, flexibility, and respect for the singer’s line, allowing the drama to emerge organically from the music. Long admired for his ability to revive forgotten works and for his collaboration with some of the greatest singers of the late twentieth century, Bonynge once again demonstrated why his name remains synonymous with stylistic authority in this repertoire. Under his direction, the orchestra supported rather than overshadowed, creating a refined dialogue between pit and stage.
Seen together, these two encounters—one with a rarely performed French opera on disc, the other with a cornerstone of Italian opera in performance—highlighted the breadth and coherence of the artistic partnership between Sumi Jo and Richard Bonynge. Their collaboration bridged genres, languages, and traditions, unified by a shared commitment to vocal beauty, clarity of expression, and respect for the musical text.
Such moments underscore the enduring power of opera as an art form shaped not only by institutions and programming, but also by the meeting of exceptional artists. When chance aligns with artistry, it reveals unexpected continuities—connections that remind listeners how deeply individual performances can resonate across time, place, and repertoire. That performance of Lucia di Lammermoor at the Dorothy Chandler Pavilion stands as one of those rare evenings that transcend the ordinary framework of an operatic production and enter the realm of collective memory. From the very first measures, it was evident that something exceptional was unfolding—an alignment of artistry, inspiration, and circumstance that occurs only on the most uncommon occasions.
Sumi Jo, in the title role, delivered a portrayal of extraordinary distinction. Her voice, renowned for its crystalline purity and seemingly effortless agility, revealed itself in full splendor throughout Donizetti’s demanding score. Each phrase was shaped with impeccable taste, each run articulated with diamond-like precision, and each high note emerged with a luminous ease that appeared almost otherworldly. Rather than relying solely on technical brilliance, she infused the role with emotional depth and dramatic intelligence, allowing Lucia’s vulnerability, innocence, and descent into madness to unfold with heartbreaking clarity.
The famed mad scene became the emotional and musical summit of the evening. Here, Sumi Jo achieved a rare balance between virtuosity and expression: her sound floated weightlessly above the orchestra, fragile yet unwavering, conveying psychological disintegration with haunting restraint. It was not merely a display of vocal mastery, but a moment of profound theatrical truth—one that held the audience in complete silence before releasing it into rapturous applause.
Equally remarkable was the conducting of Richard Bonynge, whose interpretation of Lucia di Lammermoor demonstrated once again why his name is synonymous with stylistic authority in the bel canto repertoire. His direction was both elegant and deeply informed, combining structural clarity with lyrical flexibility. Bonynge shaped the orchestra with a sure hand, allowing the music to breathe naturally and providing the singers with an ideal foundation upon which to build their interpretations. His reading of Donizetti was refined, attentive to detail, and imbued with an innate sense of drama, never overwhelming the vocal line but enhancing it at every turn.
The synergy between soprano and conductor was unmistakable. Their shared understanding of style, phrasing, and dramatic pacing created a seamless unity between stage and pit. This was bel canto performed at the highest level: disciplined yet expressive, technically flawless yet emotionally compelling. Together, Sumi Jo and Richard Bonynge elevated the performance beyond excellence into something truly unforgettable.
At the final curtain, the reaction was immediate and overwhelming. The entire Dorothy Chandler Pavilion rose to its feet in a sustained standing ovation. Applause thundered through the vast auditorium, waves of admiration echoing from the stalls to the upper tiers. It was a triumph in every sense—a grand success for Sumi Jo, a testament to Bonynge’s extraordinary leadership, and a celebration of operatic artistry at its finest.
Such performances are rare not only because of their technical perfection, but because of their emotional impact and historical resonance. This was a night destined to be remembered, spoken of long after the echoes of applause had faded—a performance that would take its place in the annals of the theater as a benchmark of interpretive excellence.
Among the audience, seated in the fifth row, was a witness fully aware of the privilege of that moment. To experience such an evening at such proximity, to observe every gesture of the conductor and every nuance of the soprano’s artistry, was to be granted a gift beyond measure. It remains one of those singular nights that define a lifetime of listening—an unforgettable experience, unique and unrepeatable, and without question one of the most extraordinary evenings of a life devoted to music.
🇮🇹 Italiano
Quella rappresentazione di Lucia di Lammermoor al Dorothy Chandler Pavilion appartiene a quelle rarissime serate destinate a entrare nella storia del teatro. Fin dalle prime battute, era evidente che non si stava assistendo a una semplice esecuzione, ma a un evento eccezionale, in cui arte, ispirazione e destino si incontravano in perfetto equilibrio.
Sumi Jo, nel ruolo del titolo, offrì un’interpretazione di straordinaria grandezza. La sua voce, di una purezza cristallina e di un’agilità apparentemente senza limiti, si dispiegò con naturale eleganza lungo l’intera partitura di Donizetti. Ogni frase era scolpita con gusto impeccabile, ogni coloratura emergeva con precisione luminosa, ogni acuto sembrava sospeso nell’aria. Nella celebre scena della follia, la cantante raggiunse un livello di intensità quasi irreale, fondendo virtuosismo tecnico ed espressione drammatica in un momento di assoluta verità teatrale.
La direzione di Richard Bonynge fu altrettanto memorabile. Con raffinata autorità e profonda conoscenza dello stile belcantistico, seppe guidare orchestra e cantanti con equilibrio, flessibilità e chiarezza formale. La sua lettura di Lucia di Lammermoor fu elegante, profondamente musicale e sempre al servizio della voce. Il dialogo tra buca e palcoscenico raggiunse una rara armonia.
Al termine della rappresentazione, l’intero Dorothy Chandler Pavilion si alzò in piedi in un’ovazione travolgente. Fu un trionfo assoluto, una serata irripetibile che rimarrà nella memoria di chi ebbe il privilegio di viverla. Tra il pubblico, dalla quinta fila, si aveva la chiara consapevolezza di assistere a uno di quei momenti che segnano una vita intera: una delle notti più indimenticabili che l’opera possa offrire.
🇩🇪 Deutsch
Diese Aufführung von Lucia di Lammermoor im Dorothy Chandler Pavilion zählt zu jenen seltenen Abenden, die sich unauslöschlich in das Gedächtnis eines Opernhauses einschreiben. Schon mit den ersten Takten wurde spürbar, dass hier etwas Außergewöhnliches geschah – eine künstlerische Konstellation von seltener Vollkommenheit.
Sumi Jo gestaltete die Titelrolle mit überragender Meisterschaft. Ihre Stimme von kristallklarer Reinheit und scheinbar grenzenloser Beweglichkeit durchdrang Donizettis Partitur mit müheloser Eleganz. Jede Phrase war von vollendeter Schönheit, jede Koloratur präzise und leuchtend, jeder hohe Ton schwebte frei und sicher im Raum. In der berühmten Wahnsinnsszene verband sie technische Perfektion mit tief empfundener Dramatik und schuf einen Moment von erschütternder Intensität.
Die musikalische Leitung von Richard Bonynge war von außergewöhnlicher Qualität. Mit souveräner Ruhe und stilistischer Autorität formte er das Orchester zu einem atmenden, flexiblen Klangkörper, stets im Dienst der Sänger. Seine Interpretation zeichnete sich durch Klarheit, Eleganz und tiefes Verständnis für den Belcanto-Stil aus.
Am Ende erhob sich das gesamte Dorothy Chandler Pavilion zu einer langanhaltenden stehenden Ovation. Es war ein triumphaler Erfolg, eine einzigartige Aufführung, die in die Geschichte eingehen wird. In der fünften Reihe sitzend, war man sich der Einmaligkeit dieses Moments voll bewusst – eine jener Nächte, die ein Leben lang nachklingen und zu den unvergesslichsten Erfahrungen zählen.
🇷🇺 Русский
Этот спектакль «Лючии ди Ламмермур» в зале Dorothy Chandler Pavilion стал событием исключительным, из тех редких вечеров, которые навсегда остаются в истории оперного искусства. С первых тактов было ясно: перед публикой разворачивается не просто представление, а подлинный художественный триумф.
Суми Чо в партии Лючии продемонстрировала высочайшее вокальное и драматическое мастерство. Её голос — кристально чистый, гибкий и сияющий — свободно парил над оркестром, раскрывая все оттенки музыки Доницетти. Каждая фраза была вылеплена с безупречным вкусом, каждое украшение прозвучало с филигранной точностью. Сцена безумия стала кульминацией вечера: редкое сочетание виртуозной техники и глубочайшей эмоциональной правды.
Дирижирование Ричарда Бонинджа было поистине выдающимся. Его интерпретация отличалась ясностью формы, тонким чувством стиля и исключительным вниманием к вокальной линии. Под его руководством оркестр дышал вместе с солистами, создавая идеальный баланс между сценой и ямой.
По окончании спектакля весь Dorothy Chandler Pavilion встал в бурной, продолжительной овации. Это был безусловный триумф — незабываемый, неповторимый вечер, который войдёт в историю. Находясь в пятом ряду, невозможно было не осознавать уникальность происходящего: одна из тех редких ночей, которые становятся одними из самых ярких воспоминаний в жизни.
🇪🇸 Español
Aquella función de Lucia di Lammermoor en el Dorothy Chandler Pavilion pertenece a ese reducido grupo de noches excepcionales que trascienden el ámbito del espectáculo para inscribirse en la historia de la ópera. Desde los primeros compases se percibía que no se trataba de una representación más, sino de un acontecimiento extraordinario.
Sumi Jo, en el papel de Lucia, ofreció una interpretación de grandeza absoluta. Su voz, de pureza cristalina y agilidad prodigiosa, se desplegó con naturalidad a lo largo de la partitura de Donizetti. Cada frase estuvo cuidadosamente modelada, cada coloratura brilló con precisión impecable y cada nota aguda emergió con una facilidad deslumbrante. En la célebre escena de la locura, logró una síntesis perfecta entre virtuosismo técnico y profundidad expresiva, alcanzando un nivel de intensidad emocional verdaderamente inolvidable.
La dirección de Richard Bonynge fue sencillamente extraordinaria. Con elegancia, autoridad y un conocimiento profundo del estilo belcantista, condujo la obra con equilibrio y sensibilidad, sosteniendo a los cantantes y realzando el drama sin jamás imponerlo. Su lectura de Lucia di Lammermoor fue un modelo de claridad, refinamiento y musicalidad.
Al final de la función, todo el Dorothy Chandler Pavilion se puso en pie en una ovación prolongada y unánime. Fue un triunfo rotundo, una función memorable e irrepetible, destinada a perdurar en la memoria colectiva. Desde la quinta fila, se vivía con plena conciencia la magnitud del momento: una de esas noches únicas que marcan para siempre y que se cuentan, con el paso del tiempo, entre las más inolvidables de una vida dedicada a la música.
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