There is a lot to be said for an opera singer who can hold your attention even when not singing. Manon Strauss Evrard possesses this quality by the ton.

Her singing was spectacular and she also drew the audience with her almost constant movement -- however defined or undefined it was. And it assured observers that she achieved the heights original story teller Sir Walter Scott and composer Gaetano Donizetti intended.

In the feature role as Lucia in the Virginia Opera's production of "Lucia di Lammermoor" Friday night at the Landmark Theatre, Strauss Evrard hit all the notes and exhibited a mournful and quick decline from beautiful bride to blood-stained murderer.

And she had a strong set of vocal partners -- in particular Israel Lozano as her ill-fated lover Edgardo, Sebastian Catana as Enrico and Christian Van Horn as Raimondo.

Conductor Peter Mark held a strong but graceful hand over the Richmond Symphony Orchestra players manning the pit and showed a sterling command in keeping voices, music and movement in their proper places.

Stage director Dorothy Danner also assured that a full chorus complemented the action, particularly as the onstage audience moved in darkened and slow motion as the top dogs took the spotlight in the familiar sextet in the second act.

When it came time for the infamous "mad scene," everyone was pretty much prepared. But different divas perform this scene different ways. And this one was out of sight.

Strauss Evrard owned the scene as she played the giant stairway, the small stairsteps, the floor, the chairs, the people.

At times she was leaning over, at times flat out on the floor. Sometimes she knelt on one or both knees and fell to her side while singing. For those who don't understand sustained vocal production, any position other than standing on two feet makes it very hard. Yet nary a note was missed.

Kudos to Richmond Symphony Orchestra flutist Mary Boodell who doubled with Strauss Evrard in the final portions of the mad scene.

The only disappointment was cranky moving tree scenery that eventually was solved, but should never have happened in a production of this magnitude.

If you've seen this opera before, you understand why it has long been a standout in the bel canto repertoire.

If you saw this production, you will be looking for it again.
Contact Walt Amacker at (804) 649-6247 or wamacker@timesdispatch.com.