Salvadore Cammarano wrote the Italian-language libretto loosely based upon Sir Walter Scott's 1819 historical novel The Bride of Lammermoor.

[1] Donizetti wrote Lucia di Lammermoor in 1835, when he was reaching the peak of his reputation as an opera composer.

Gioachino Rossini had recently retired and Vincenzo Bellini had died shortly before the premiere of Lucia leaving Donizetti as "the sole reigning genius of Italian opera".

[2] Not only were conditions ripe for Donizetti's success as a composer, but there was also a widespread interest in the history and culture of Scotland.

The perceived romance of its violent wars and feuds, as well as its folklore and mythology, intrigued 19th century readers and audiences.

[2] Walter Scott dramatized these elements in his novel The Bride of Lammermoor, which inspired several musical works including Lucia.

[3] The story concerns the emotionally fragile Lucy Ashton (Lucia) who is caught in a feud between her own family and that of the Ravenswoods.

After World War II, a number of sopranos were instrumental in giving new life to the opera, including Maria Callas (with performances from 1954 at La Scala and Berlin in 1955 under Herbert von Karajan) and Dame Joan Sutherland (with 1959 and 1960 performances at the Royal Opera House Covent Garden).

[6] An aria from the opera, "Il dolce suono", is mentioned in E.M. Forster's Where Angels Fear to Tread.

Also, occasionally the glass harmonica is substituted for solo flute in Lucia's mad scene, per Donizetti's original score.

In her famous aria "Regnava nel silenzio", Lucia tells her maid Alisa that she has seen the ghost of a girl killed on the very same spot by a jealous Ravenswood ancestor.

Lucia tells him this is impossible, and instead they take a sworn vow of marriage and exchange rings.

Scene 1: Lord Ashton's apartments Preparations have been made for the imminent wedding of Lucia to Arturo.

At that point Edgardo suddenly appears in the hall, which leads to the celebrated sextet Chi mi frena in tal momento.

Scene 2: A Hall[14] Raimondo interrupts the marriage celebrations to tell the guests that Lucia has gone mad and killed her bridegroom Arturo.

[15] The cabaletta "Spargi d'amaro pianto" following the more lyrical "Il dolce suono" from the "mad scene" (Act 3, Scene 2), has historically been a vehicle for several coloratura sopranos (providing a breakthrough for Dame Joan Sutherland) and is a technically and expressively demanding piece.

Some sopranos, including Maria Callas, have performed the scene in a come scritto ("as written") fashion, adding minimal ornamentation to their interpretations.

Most sopranos, however, add ornamentation to demonstrate their technical ability, as was the tradition in the bel canto period.

Some sopranos, including Ruth Welting,[17] Mariella Devia,[18] Mady Mesplé, and Lily Pons have sung the "mad scene" in Donizetti's original F major key, although E-flat is more commonly heard.

[19] Glass harmonica players Sascha Reckert and Philipp Alexander Marguerre resuscitated Gaetano Donizetti's vision in 2006 at the Opera La Scala in Milan,[20] accompanying Mariella Devia, and have since brought Donizetti's original score back to all major opera houses, including the venue of its premiere, Teatro di San Carlo.

[25] The popular soprano and flute duet cadenza was composed in 1888 by Mathilde Marchesi for her student Nellie Melba's performance of the role, requiring ten weeks of rehearsal for the new addition and causing a critical reevaluation and surge of new interest in the opera.

Donizetti was living there at the time, preparing the revision of Poliuto into its French version (which became Les Martyrs).

[27] The libretto, written by Alphonse Royer and Gustave Vaëz, is not simply a translation, as Donizetti altered some of the scenes and characters.

Furthermore, Lucia loses most of Raimondo's support; his role is dramatically diminished while Arturo's is increased.

Donizetti also added a new character, Gilbert, who is loosely based on the huntsman in the Italian version.

The French version is performed far less frequently than the Italian, but it was revived to great acclaim by Natalie Dessay and Roberto Alagna at the Opéra National de Lyon in 2002.

The earliest complete recording was made in 1929 with Lorenzo Molajoli conducting the La Scala Orchestra and Chorus and Mercedes Capsir in the title role.

In 2002, Chandos Records released the English version with David Parry conducting and Elizabeth Futral as Lucia.

Another recording is Diana Damrau's along with Joseph Calleja in the role of Edgardo and Ludovic Tézier as Enrico.